Loading...
HomeMy WebLinkAbout2016-464-E Arts - Eno Publishers - Spring 2016 Arts Grant Agreement A DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F C a r. O -Ntse !0 1 ° '� ORANGE COUNTY ARTS COMMISSION SPRING, 2016 GRANT AGREEMENT e „ Y ` n THIS AGREEMENT, entered into this 8th day of August, 2016, by and between Orange County ("County"), by and through the Orange County Arts Commission ("Arts Commission") and Eno Publishers ("Grant Recipient"). WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth of local arts experiences by providing funding and support for diverse high quality programs and projects. WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Program to provide economic opportunities to Orange County artists and non-profit organizations coordinating arts projects benefiting the citizens of Orange County. WHEREAS, the Spring Arts Grants Program is supported by Arts Commission with funds from the Grassroots Program of the North Carolina Arts Council, an agency of the Department of Cultural Resources and the National Endowment for the Arts. WHEREAS, the Grant Recipient was selected by the Arts Commission to receive the Spring Arts Grant through the procedures duly adopted by the Arts Commission; and WHEREAS, both parties wish to promote and maintain the integrity and clarity of the Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to the County; NOW, THEREFORE, the County and the Grant Recipient, for the consideration and under the conditions hereinafter set forth, agree as follows: 1. Approved Grant Project. Grant funds are provided under this Agreement for the project ("Project") described in the Grant Recipient's Grant Application, attached hereto and incorporated herein as Exhibit A. 2. Grant Award. Grant funds in an amount not to exceed One Thousand Five Hundred Dollars ($1,500) have been awarded by the Arts Commission to the Grant Recipient for the approved Project. These funds must be matched at least dollar-for-dollar with cash from the Grant Recipient's funds not derived from either Orange County appropriations or the North Carolina Arts Council. 3. Contingency. This grant is contingent on North Carolina Arts Council Grassroots Program funding to the Arts Commission. Final decisions on Grassroots Program funds to the North Carolina Arts Council are subject to approval by the North Carolina General Assembly. 4. Responsibilities of the Grant Recipient 1 Revised June 2015 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F A. Implementation. The Project implementation shall take place between July 1, 2016 and June 30, 20 17. The Project shall be implemented in the manner described in Exhibit A. Time is of the essence in the implementation of the Project. B. Modifications to project. Grant Recipient shall present major changes to the original proposal, including but not limited to changes in design, implementation schedule and increase in Project budget by more than 10%, in writing to the Arts Commission for approval. Arts Commission shall approve or disapprove Grant Recipient's request for modifications within seven (7) days of receipt thereof. Consent to project modifications shall not be unreasonably withheld. A its Commission's decisions shall be in writing. In the event the Arts Commission fails to approve or disapprove the requested modifications within the time stated herein, the modifications shall be deemed approved. C. Non—assignment. The grant cannot be assigned or transferred to a different project or artist without prior written approval of the Arts Commission. D. Records. Grant Recipient must maintain records and other evidence pertaining to costs incurred and revenues acquired during the Project implementation. Grant Recipient shall maintain financial records pertaining to the Project for three (3) years from the date of this Agreement, in case of audit. E. Use of Funds. Grant Recipient shall not use the grant funds to repay outstanding taxes or other debts of any nature. The grants shall be utilized solely for the purpose of implementing the Project and Project related expenses. F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Report on July 7, 2017 . The Final Report shall be in the format required by the North Carolina Arts Council. F ailure to submit the Final Report or late submission of the Final Report, for any reason, shall be grounds for denial and/or cancellation of grant funds for the Project and future grant proposals. 5. Responsibilities of the Arts Commission A. Payment. The Arts Commission shall release the grant funds in the amount of $1,500 to the Grant Recipient. 6. Publicity A. Acknowledgement. Credit must be given to the Orange County Arts Commission using the Arts Commission logo and if State funds are received to the North Carolina Grassroots Program in brochures, news releases, programs, and all other printed and online publications. Copies of such printed materials must accompany the evaluation report. When no printed information is used, verbal credit shall be given. In addition, all print and promotional material must include the following credit line (check all that apply): 2 Revised June 2015 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F i. County Funds Only. "This program is supported by the Orange County Arts Commission. " ii. X North Carolina Arts Council Funding. "This program is supported by the Orange County Arts Commission with funds from the Grassroots Program of the North Carolina Arts Council, a state agency. " B. The Grant Recipient must enter all events, exhibits and performances open to the public and related to this grant award on t he ExploreChapelHillARTS.com website and display ExploreChapelHillARTS.com publicity materials (postcards, brochures, etc.) prominently and consistently at their venue or performance space. In addition, the Grant Recipient must add a link to the ExploreChapelHillARTS.com (ExploreChapelHillARTS.com logo preferred) to their main webpage. The Grant Recipient shall contact the Orange County Arts Commission for replacement ExploreChapelHillARTS.com publicity materials. 7. Indemnity. The Grant Recipient agrees to indemnify and hold harmless the County, the Arts Commission and the North Carolina Arts Council and their officers and employees from any and all claims or actual injury, damage or loss to a person, or real or personal property that results from or is in any way connected to the use of the grant funds. 8. Independent Contractor. The Grant Recipient is an independent contractor and not an employee, agent or other representative of the County and/or the Arts Commission. Nothing contained in this Agreement shall be construed to create the relationship of principal and agent, or employer and employee, between Grant Recipient and Arts Commission or Orange County Government. Grant Recipient understands and agrees that he/she is not authorized to incur any expenses or any liability whatsoever on behalf of the County or the Arts Commission and has no authority, expressed or implied, to obligate or make representations on be half of the County or the Arts Commission. In addition, Grant Recipient agrees to maintain his or her own worker's compensation insurance for himself/herself and his or her employees for the duration of the art work's installation. 9. Termination A. In the event of any of the circumstances set forth below (hereinafter referred to as "default"), the Arts Commission may immediately terminate this Agreement: (i) Any fraudulent representation in any verification required to obtain payment under this Agreement or other dishonesty on a material matter relating to the performance of services under this Agreement. (ii) Nonperformance, incomplete service or performance, or failure to satisfactorily perform any part of the Project or to comply with any provision of this Agreement, as determined by the Arts Commission in its sole discretion. 3 Revised June 2015 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F (iii) Failure to adhere to the terms of applicable county, state or federal laws, regulations, or stated public policy. B. In the event of default by the Grant Recipient, the Arts Commission has the discretion to elect to terminate this Agreement, in whole or in part and/or require the Grant Recipient to repay the grant funds within seven (7) from written notice of default or allow the grant recipient the opportunity to cure the default. T his clause shall not be interpreted to limit the County's or the Arts Commission's remedies in law or in equity. 10. Miscellaneous. A. Entire Agreement. This Agreement and the attachments contain the final and entire understanding of the parties with respect to the subject matter of this Agreement. All modifications and amendments to this Agreement shall be in writing. This Agreement shall be binding upon the parties, their heirs, successors and assigns. B. Governing Law. This Agreement shall be interpreted in accordance with the laws of the State of North Carolina and the Orange County. C. Entire Agreement and Signatures. The parties have read this Agreement and agree to be bound by all of its terms, and further agree that it constitutes the complete and exclusive statement of the Agreement between the parties unless and until modified in writing and signed by the parties. This Agreement together with any amendments or modifications may be executed electronically. A 11 electronic signatures affixed hereto evidence the intent of the Parties to comply with Article 1 1A and Article 40 of North Carolina General Statute Chapter 66. IN WITNESS WHEREOF, the Orange County and the Grant Recipient have signed this Grant Agreement, effective on the last date this Agreement is signed by both parties as indicated by the dates set forth under signatures below. F D 14 1O behalf of the Grant Recipient 0 otv4-4, 8/16/2016 -A80634CE76A54A1... Eno Publishers Date For anij on bbehalf of Orange County Government Eit, AAAtwtUrSt 8/17/2016 B755E477... Bonnie Hammersleys, County Manager Date 4 Revised June 2015 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F ORANGE COUNTY-DEPARTMENT USE ONLY Department Party/Vendor Name: Eno Publishers Party/Vendor Contact Person: Elizabeth Woodman Contact Phone: 919-632- 6893 Party/Vendor Address: PO Box 158 City Hillsborough State: NC Zip: 27278 Department: Art Commition Amount: $1.500 Purpose: Spring 2016 Arts Grant Award Budget Code(s): 37601020-683000 Vendor # 59533 (N/A if new vendor) V endor is a BOCC consultant? Yes ❑ No Contract Type: (Check one) New El Renewal❑ Amendment ❑ Effective Date_ Approved by Board Yes❑No❑ Agenda Date: This agreement is approved as to tech ' bi :content: Department Director's Signature $4.4"`1"y Date: 8/16/2016 37BD4EFAC1 BE410... Information Technologies (Applicable only to hardware/software purchases or related services)This agreement has been reviewed and is approved as to information technology content and specifications: Office of the Chief Information Officer Date: Risk Management This agreement is approved for sufficiency o bl-, od ndards, specifications,and requirements: ((USX COV AL*& 8/16/2016 Office of the Risk Management Officer Date: 7F6eF917B800498... Financial Services This instrument has been pre-audited in the manner required by the Local Government Budget and Fiscal Control Act: DocuSigned by: (2141., Arudehort Office of the Chief Financial Officer Date: 8/16/2016 `�---7D4E5181ACC1409... Legal Services This agreement is approved as to 1 focinandbsufficiency: Office of the County Attorney Date: 8/17/2016 4035CB8364uA4A9... Clerk to the Board Received for record retention: All Docusign contracts must be copied to Donna Lloyd upon completion @ Dolloyd@orangecountync.gov The following signature block is for hard copies only and is not required for Docusign contracts: Office of the Clerk to the Board Date: 5 Revised June 2015 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F I i/ Arts Program Grant - Spring ♦ --N/ G 2016-17 Application Form ORANGE COUNTY ARTSS Orange County Arts Commission COMMISSION Promoting the artistic and cultural development of Orange County, North Carolina Evaluation Criteria • Artistic merit of program. • Populations served—impact for geographic&traditionally under-served populations. • Feasibility of proposed activity&effectiveness in fulfilling applicant's mission. • Cooperation between organizations and artists. • Evidence of feasibility of program, community support, and responsiveness to community needs. • Emerging organizations are encouraged to apply. 1 Applicant Information Applicant Name Eno Publishers Mailing Address P.O. Box 158, Hillsborough, NC 27278 Daytime Phone 919-632-6893 Fax Number Email Address Elizabeth@enopublishers.org Web Site www.enopublishers.org Project Director Elizabeth Woodman Title Publisher DUNS Number 944550958 2 Project Director Information Project Director Home Address 307 W. King St., Hillsborough, NC 27278 Daytime Phone 919-632-6893 Evening Phone 919-632-6893 Email Address Elizabeth(a,enopublishers.org 3 Grant Request Summary Arts Program Grant Request $1500 Total Cash Match $22,995 Total Organizational Budget 2014-2015 20,644 Past Year 2015-2016 26,492 Current Year 2016-2017 24,900 Projected for Next Year Summary Statement for Proposed Uses of Arts Program Grant Eno Publishers seeks funding for our forthcoming title, The Carolina Table:North Carolina Writers on Food. Specifically we are seeking matching funds to help offset the writers fees,which we estimate will be about$4,000. The book is a collection of food- related stories about North Carolina,with an emphasis on Orange County in particular.We estimate that thirty-two writers will contribute to The Carolina Table,which will be edited with an Introduction by Hillsboroughan and UNC professor, Randall Kenan. We hope to release this book in late Fall 2016. 919/968-2011— 131 West Margaret Lane, Room 216, Hillsborough, NC 27278—www.artsorange.org DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F 2016-17 Arts Program Application — Page Three Financial Information Please provide a projected budget for your proposed project utilizing the format below. Project Expenses Cash = Grant Amount + Applicant Expenses Requested Cash Match A Personnel (Employees) Administrative staff( %)* 0 0 0 Artistic staff( %)* _0 0 0 Technical/Production staff( %)* _0 0 0 *Show%of wages devoted to this project B Outside Fees and Services Artistic contracts _$4,000 _$1,500_ $2,500 Other contracts: production/printing/marketing—$8,500 0 $8,500_ C Space Rental 0 0 0 D Travel $425 0 $425_ E Marketing _$1,800 0 —$1,800 — F Remaining Project Expenses —$4770 0 —$4770 (Itemize on separate sheet) G Total Cash Expenses _$19,495 = $1,500_ + _$17,995_ Project Income Cash Income A Admissions B Contracted Services Revenue C Other Revenue(specify): _Book Sales _$13,680_ D Private Support Corporate support(specify): Foundation support(specify): Other private support(specify): E Government Support Federal State/regional(not including this request) Local (not including this request) F Applicant Cash _4,315 G Grant Amount Requested $1,500 in this application H Total Cash Income _19,495 (must at least equal Total Cash Expenses, Item G in Project Expenses) DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F Itemized Expenses for OCAC GRANT: Carolina Table authors' copies of the book--80 copies 392 shipping of authors copies 256 complimenary copies--promotional--265 copies 1297 shipping of promotional copies 848 isbn, barcode 32 Overhead (4 months) Rent 1280 supplies 295 Phone & internet 370 4770 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F 1 il 1 ."IN/ Of ORANGE COUNTY ARTS 2016-17 Arts Program Application — Page Four COMMISSION Signatures l it)rOF IA/1--- 5/1-3 ZO 49 ig ture of Project Director Dat rz4bei'h lA UGetrKbr Typed or Printed Name - Project Director ro c, L c 4 5 Ls lio/(0 Signature of Authorizing Official ate -"lawaL t-C u.l,tok k Typed or Printed Name -AL�thorizing Official INCOMPLETE APPLICATIONS WILL NOT BE FUNDED DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F ENO Publishers Narrative 2016 OCAC Spring Application Organizational Profile Eno Publishers, a nonprofit publisher in Hillsborough,North Carolina, was started in 2007. We have a distinctly local and regional emphasis. Eno's mission is to publish books in print and online about the culture and history of the Carolinas and other areas of the South. To date, we've published 14 books, at the rate of two a year. Eno publishes the "27 Views" series, a collection of local anthologies from eight North Carolina communities. Our first two volumes in the series, 27 Views of Hillsborough and 27 Views of Chapel Hill, both received funding from the Orange County Arts Commission and feature the work of dozens of Orange County writers. These books strive to create a sense of place by inviting twenty-seven local authors to write about some aspect of their hometown. Most recently, we have focused our editorial program on Elizabeth Keckley, a nineteenth- century woman who was enslaved at the Burwell School in Hillsborough. She went on to purchase her freedom in the 1850s and become a highly sought after dress designer and dressmaker in Civil War-era Washington, DC. She became the dressmaker for and the confidante of First Lady Mary Todd Lincoln, which Keckley wrote about in her controversial 1868 memoir, Behind the Scenes: Or, Thirty Years a Slave, and Four Years in the White House. Eno has just reissued the memoir. In addition we are publishing the first of two Elizabeth Keckley Readers, collections of scholarship that focus on the life,work, and legacy of Keckley. Current Programs and Services List of Eno Publishers books currently in print: 2016 • Behind the Scenes: Or, Thirty Years a Slave, and Four Years in the White House, by Elizabeth Keckley; introduction by Dolen Perkins-Valdez • The Elizabeth Keckley Reader, Volume One: Writing Nation, Writing Self, edited with an introduction by Sheila Smith McKoy 2015 • 27 Views of Wilmington: The Port City in Prose & Poetry; introduction by Celia Rivenbark • 27 Views of Greensboro: The Gate City in Prose & Poetry; introduction by Marianne Gingher 2009-2014 • Undaunted Heart(the story of Chapel Hill's Ella Swain), by Suzy Barile • Rain Gardening in the South, by Helen Kraus &Anne Spafford • Chapel Hill in Plain Sight, by Daphne Athas • 27 Views of Hillsborough: A Southern Town in Prose & Poetry; introduction by Michael Malone • 27 Views of Chapel Hill: A Southern University Town in Prose & Poetry; introduction by Daniel Wallace • Brook Trout and the Writing Life, by Craig Nova • 27 Views of Asheville: A Southern Mountain Town in Prose & Poetry; introduction 1 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F ENO Publishers Narrative 2016 OCAC Spring Application by Rob Neufeld • 27 Views of Raleigh: The City of Oaks in Prose & Poetry; introduction by Wilton Barnhardt • 27 Views of Charlotte: The Queen City in Prose & Poetry; introduction by Jack Claiborne Proposed Uses for the Grant Funds At the intersection of food and story, The Carolina Table: North Carolina Writers on Food will offer a collection of essays about the best meal, food and memory, the best family tradition, a cherished food ritual, a dreaded food ritual, a favorite recipe, the worst recipe, the worst meal, the funniest meal. These food-related stories are set in North Carolina, many right here in Orange County, and approach food from a range of angles: meals and manners, cooking and ingredients, recipes and recollections. The pieces include a humorous story about a career mom (now retired in Chapel Hill) with not much interest in food, becoming an accidental food columnist for a local paper; a vegetarian chef, who declared herself a vegan to her Chapel Hill parents when she was nine, grappling with her husband's obsession with pork; a once-a-year childhood outing to a "fancy" restaurant. An Orange County goat farmer describes his journey with his goats from Northern Orange to a halal butcher from Afghanistan who has set up shop in Sanford. One contributor takes us to the annual celebratory Blue Monday shad fry along the Cape Fear River. Among the North Carolina writers and chefs who regale us with stories are Lee Smith, Frances Mayes, Daniel Wallace, Marianne Gingher, Wiley Cash, Jill McCorkle, Jaki Shelton Green, Michael Malone, Paul Cuadros, and Emily Wallace. It also includes stories by chefs Vivian Howard (of PBS's "A Chef's Life") and Crook's Corner's popular chef Bill Smith, noted food anthropologists Marcie Cohen Ferris and Elizabeth Engelhardt, as well as cookbook authors, Nancie McDermott and Bridgette Lacy. We estimate that more than half of our thirty- five contributors will be residents and/or former residents of Orange County, arguably the state's most influential food trend-setter and literary hub. The editor and introduction writer for the The Carolina Table is celebrated author and University of North Carolina creative writing professor,Randall Kenan, a long-time Orange County resident. He will spend the summer assembling and editing the volume,which we plan to introduce late this Fall. Writes Randall, "The founding father of food writing, Jean Anthelme Brillat-Savarin, once wrote, `Tell me what you eat and I will tell you what you are.' Of all the fifty states—with the possible exception of Louisiana—North Carolina's bounty most accurately defines its inhabitants,happily, fully,richly, and colorfully. From our fish and our shellfish,to our poultry and pork, our bumper crops of sweet potatoes and cucumbers, and so much more, it is not simply the quantity and quality of our foodstuff,but what we do with it that tells our story. Our foodways contain our history, our culture, our priorities, our health, our wealth, and our poverty. "The collection of voices in The Carolina Table speaks to that very diversity and character,"he continues. "It is a snapshot of the Old North State in the early twenty-first century,not merely looking back,but looking forward as well. Should someone look for a definition of what it means to be a North Carolinian now,this anthology will give a very solid, and flavorful, idea." 2 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F ENO Publishers Narrative 2016 OCAC Spring Application The cover photography is the work of Chris Thompson of Orange County, shot in the kitchen of local chef April McGregor. The book design and production will be done by Copperline Books of Hillsborough. The extensive list of authors who will be contributing to the volume can be found in the attached spreadsheet, labeled "Carolina Table." We plan to do a series of readings, including readings at the public libraries in Orange County and at the independent bookstores. Details are being ironed out,but our hope is to engage the community,readers and writers, food enthusiasts, story lovers, and to anchor our food stories in kitchens and dining rooms in Orange County and across the state. Eno has a track record for successful book launches, drawing a diverse audience. From library and bookstore readings for our "27 Views" books, our audiences span generations from teenagers to seniors, and ethnicity--usually about 20 percent being people of color. We plan to print 3,000 copies of The Carolina Table. We believe that the book will have wide appeal with African American, Asian, and Latino audiences. As of late May, one in five of our contributors is a person of color. In addition,we have many young voices represented, as well as members of the LGBT community. 3 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F The North Carolina Table Excerpts from six stories in various stages of editing Mama Dip's: A Celebration of Southern Food and Music William Ferris Food and strong southern women have always played an important part of my life. Before moving to Chapel Hill,I lived in Oxford, Mississippi, where I directed the Center for Study of Southern Culture at the University of Mississippi for eighteen years. My days there often began with breakfast at Smitty's, a restaurant just off the Square run by Louise Smith. Mrs. Smith always greeted me with hot coffee, a plate of steaming biscuits, and home-made preserves. Sometimes I was joined by my friend Motee Daniels, a bootlegger who sold moonshine to William Faulkner during Prohibition. When Mrs. Smith asked, "What would you like, Motee?" he always replied, "All I need is some kind words and a cool drink of water." In the evening,I would often drive to the outskirts of Oxford and up a hill to Isaiah's Busy Bee, a small,two-room restaurant with three tables in the front room and a kitchen in the back run by Georgia Isaiah. Mrs. Isaiah had cooked for several chancellors at the University of Mississippi and was renowned for her culinary skills. She prepared one meal with ice tea and a delicious desert each evening. While I ate, Mrs. Isaiah would lean across the counter and tell me all the news from Oxford. When my wife Marcie and I moved to Chapel Hill in 2002,we enjoyed the celebrated foods prepared by Bill Smith at Crook's Corner and by Ben and Karen Barker at Magnolia Grill. But I also longed for a southern cuisine in Chapel Hill that would connect me with Louise Smith and Georgia Isaiah's food that I knew and so loved in Oxford. We quickly made that connection when we met Mildred Council and enjoyed a breakfast of grits, eggs, and fried green tomatoes with hot biscuits and coffee at her restaurant Mama Dip's. I also enjoyed lunches and dinners of fried chicken livers,baked sweet potatoes, and sweet tea. But I needed more than just delicious food. I also sought stories to accompany that food, and those stories came in abundance when I spoke with Mildred Council. Sitting in her favorite booth near the entrance of her restaurant,Mrs. Council greets her visitors with a warmth that makes the food complete. Our friendship has grown and deepened over the past fifteen years in ways that have profoundly enriched my life. 1 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F When invited by the Southern Foodways Alliance several years ago to speak about Moon Pies at their annual meeting,I asked Mrs. Council if she remembered eating that delicacy. She immediately replied, "I love a Moon Pie. I'd eat one now if I had it. They were a snack thing that they had everywhere, like in the service stations and grocery stores. I remember at first they all had chocolate. They had a chocolate covering. And in the late eighties and nineties they came out with a cream cover. The inside was crispy like a cracker." Mrs. Council expanded my study of the American South with her wise voice. Each fall I teach an 8:00 am course on Southern Music that traces the region's music from its roots in Indian music, spirituals, and ballads to country music,blues, and rock and roll. Inspired by Marcie's study of foodways, I include a final class on southern music and food. For that class,my students and I gather in the back room of Mama Dip's around tables laden with her delicious breakfast specials. As the students begin their breakfast, I lecture about the importance of food in southern music. Whether at Sacred Harp sings with dinner on the church grounds, at blues house parties, at country music honky tonks, or at southern music festivals, food is an essential ingredient of the music performed. Mama Dip's begins to rock as we listen to a recording of Blind Boy Fuller singing "I Want Some of Your Pie": I'm not jokin'and I'm gonner tell you no lie. I want to eat your custard pie. You got give me some of it, `Fore you give it all away. Then we listen to Big Bill Lister's recording of"R.C. Cola and Moon Pie." Standing six feet seven inches tall, Lister billed himself as "the world's tallest singing cowboy," and who would dare question his claim as he sang: I may be just a country boy, But Brother I get my thrill, With an R.C. Cola and a Moon Pie, Playing "Mabel on the Hill. " There are many food connections to Chapel Hill music worlds. Local band Southern Culture on the Skids insists that before each concert begins,buckets of fried chicken must be passed out to their audience, who then eat the chicken while dancing to songs with lines like Got too much pork for just one fork. Won't you pass that apple pie? Interviewed by my student Michael Spinks, band leader Rick Miller explains that, "Our music is a lot like a southern plate lunch. Every item on the menu has been cooking for a while and has its own flavor,but they all run together when you put them on the plate and start to eat. We take 2 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F a lot of different styles—blues, rock, surf, easy listening, country—and let them all run together when we play." Then I spice up the topic of southern food and music with Goodie Mob singing"Soul Food." Daddy put the hot grits on my chest in the morning. When I was sick, Mary had the hot soup boiling. Didn't know why, but it felt so good, Like some waffles in that morning. Headed back to the woods. Now I'm full as a tick, got some soul on blast in the cassette. Food for my brain. I haven't stopped learning yet. Hot wings from mo jos got my forehead sweating. Celery and blue cheese on my menu next. From blues to country to rock and roll to hip hop, we sample sounds and explore how they celebrate foodways through music. Bill Smith generously takes time to join my class and speaks about his work as chef at Crook's Corner. Bill explains that many local musicians earn money worked as sous chefs in his kitchen to support themselves. Bill also once ran Cat's Cradle, where musicians who worked in his kitchen also performed with their bands. He acknowledges his debt to Mrs. Council,whose work at Mama Dip's is an inspiration for his own. Then Mrs. Council speaks to the class. She tells students how she received her nickname"Dip" as a young girl because she was tall and could lean over and dip water from the barrel at her home when her siblings were thirsty. Mrs. Council carries us back in time to her life as a child in rural Orange County and her memory of the country store where her father traded eggs and the produce he raised for coffee and supplies the family needed. The country store is important. We talk about it all the time, the older generation like me. Today you go to the freezer and take things out. But in the country store nothing was boxed up. The meat was hung in the loft of the store, the ham, and the shoulder and the strick o'lean. It smelled good because even the candy was laying out. The peppermint sticks weren't wrapped up. The horehound and the Mounds was three times as big as they are today. I remember we swapped eggs in the country for our goodies. Let me tell you about the country store. Everybody knowed everybody. We would ride to town on a wagon. People would sit outside, and they could tell time by that shadow. Poppa could too. When dinner time came, he would say, "Well the bell's gonner ring in a little bit. " And that shadow would be real small, you know. Old people could tell the time of day with the shadow. People today don't know about it any more." 3 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F Mrs. Council's stories and her delicious breakfast are clearly the highlight of my course on Southern Music. Her tales and the taste of her cuisine are memories that my students and I will savor for many years. They are an anchor that is distinctive to Chapel Hill, a city where food and story are forever associated with Mildred Council's powerful culinary voice. Grape(Hull Pie) Expectations on Highway 117 Celia Rivenbark You could smell the barbecue long before you pulled into the parking lot at Norris's Restaurant in the little Duplin County town of Wallace. Norris's barbecue was the greasiest, smokiest I ever ate and it was one of the main reasons I showed up on a fine May morning in 1974 to apply for a waitress job at the only sit-down restaurant in town. I needed money for community college in the fall and I knew there was no way I was going to work at Family Dollar store like my sister because just that week,right after she had promised to "put in a word"for me, she'd been given the unimaginable task of cleaning up a dressing room that an intoxicated shopper mistook for a bathroom. ("Walked right out of there and kept on shopping," she said later, still shaking her head at the memory.) No thanks. In a way it was a good thing that my retail career was torpedoed. Because, truth be told, I wanted to work as close to my true love—fine, authentic Southern home- style cooking—as humanly possible. There was a"help wanted" sign in the window and Norris's was owned by a second cousin once removed so I figured I could always play the"cuz card"if need be. It wasn't fancy but there was an added-on paneled"Liberty Room"where the Rotary and Chamber of Commerce met, and it was also home to the town's only salad bar. Listen. I'm not talking about that freeze-dried,pre-bagged slop they put on a salad bar at McAppleTuesday's these days. This was the real deal: real homemade chicken,ham,tuna and egg salads framed by ice cold containers of fresh beets, real devilled eggs,homemade pickles. I guess there was some lettuce. "You Howard Lee's daughter?" asked Annie Faye Norris,the owner,who was fierce way before Beyonce. She was just as wide as she was tall and she didn't take any of that stuff they were still cleaning up over at the Family Dollar store. "Yes, ma'am,"I said. "I wondered if I could get a job as a waitress. I've always loved y'alls'es food." 4 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F "Uh-huh." Clearly Annie Faye Norris didn't have time for flattery. My God,but her Grape Hull Pie was legendary. Even to this day,I purely swoon at the memory of those tender muscadine hulls, separated carefully from their pulp and seeds before being chopped fine,then reunited in a dense custard that was poured into a lard-built pastry as tender as a first kiss and topped with a good four inches of meringue. Grape Hull Pie was a rare treat, awaited by the locals in Wallace like some more uppity folks might anticipate an exceptional Beaulojais Nouveau. It was only on the menu a couple of weeks out of the year. Labor intensive,weird, and wonderful. I've never seen it on a menu anywhere else and I'm almost glad because it could never be as good as Annie Faye's. While I stood there and salivated at the thought of that pie,Annie Faye narrowed her eyes so that they were nearly lost in her round face. She looked me up and down for a full thirty seconds. Finally she sighed in what sounded like total resignation. "Get yer hair out of your face and go get some newspapers and vinegar and start on those front windows." Okay,you have to understand that I was used to Windex. I wasn't making the connection. Dot,who was Annie Faye's chain-smoking sister and could elegantly stack six plates of bacon, eggs, and grits on her skinny forearms,took pity on me. "Best way to get a shiny window is newspaper and vinegar. Get to it." So I did. And,bless Patty,they were right. After an hour or so, the plate-glass windows on the front of the little dining room were clean and streak-free. Sadly,my hands were completely black. "No food service today,"growled Dot on her way out to smoke her hundredth Kent of the morning. "Lookit yer hands." It took an hour of scrubbing with Camay to get them clean again. Gloves. Yep. I was a brand new graduate of Wallace-Rose Hill High School and didn't have sense enough to wear gloves when I was cleaning windows with newspapers and vinegar. At this point,I felt only marginally smarter than that poor confused soul in the Family Dollar dressing room. The next morning, Day 2 of my first"public"job,I had bobby-pinned my hair out of my face and borrowed some thick white uniform pants and a matching top from my sister's short-lived career in something called respiratory therapy at the county hospital. ("I help them breathe," she had explained succinctly,while drawing on a Vantage menthol.) "Your hair looks like a rat's nest," said Annie Faye, still cemented to her post at the cash register,just as I'd left her twelve hours before. Had she been there all night? She 5 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F reminded me of those owls that people put on their houses to scare off woodpeckers. She never moved but she was working all the time. Mercifully, a high school friend who had worked at the restaurant a couple of years was working the breakfast shift. Christy showed me how to roll my limp blonde hair over a tube sock and twist it into a passable bun. Amazing! While I'd already learned a lot about previously unheard of uses for newspapers and tube socks,I just wanted to work with the food. I wanted to holler"Order up!"to the cooks, Annie Faye's grown sons: William,who was only slightly warmer in demeanor than his mama, and Danny,the prankster whose determined cheer was enough to offset his mother and brother's dour nature right by itself. So far,restaurant work wasn't glamorous. I'd had enough talk about hair buns and window cleaning and wanted to, literally, see how the sausage was made. Most of all, I wanted to end the day sitting in the booth where the waitresses sat. They rolled silverware, counted their tips, and drank gallons of sweet tea. After work,you could help yourself to barbecued pork or chicken but no seafood. That stuff cost money,Annie Faye growled in a manner that I no longer took personally. Let's Cook,EXCLAMATION POINT Michael Parker That there might not have actually been an exclamation point at the end of the cooking column my mother wrote for my father's weekly newspaper in the mid to late Seventies is only further proof of the merciless irony shared by me and my four siblings. Everything—school,politics, our choir director's too-small Hang Ten lime green pantsuit, our wacky fundamentalist neighbor who came over to our house on rainy days and sang Nearer My God to Thee in a vibratoed lisp—was fodder for our trash-talking. Every other word out of our mouths was couched in quotation marks, italicized by smart- assedness. The great gulf between the way the world might have seemed to those outside the immediate family and the way we pitched it makes such slight matters of punctuation irrelevant,for to our minds the name of the column was always announced with exaggerated exuberance. LET'S COOK! We had other names for it. Because a high percentage of the recipes called for a package of dried powder, we called it LET'S COOK WITH LIPTON'S ONION SOUP! In that era of polyester and Fresca,much of what was called salad contained marshmallows or 6 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F carrot slivers quivering in translucent cubes of jello,which led us to call the column LET'S COOK SOME SALAD WITHOUT ANY LETTUCE IN IT! My mother's cooking column was the subject of much scrutiny because my mother, as she would herself admit,was not really all that into cooking. She was too busy. She worked as Dean of Students for a community college and she ran the evening program and traveled around our huge county—bigger in square mileage than the state of Rhode Island— recruiting recent high school grads. Often her workday began at eight a.m. and ended past nine p.m. There wasn't much time to spend planning elaborate meals for her brood,none of whom were terribly discriminating. As long as there was a gallon of milk on the table to wash down the casserole and canned LeSeur peas,we were happy. We ate a lot of baked spaghetti(my favorite part of which remains the crusty edges, scraped from the perimeter of Pyrex) and we ate a lot of Hamburger Helper. I grew up loving Hamburger Helper. I especially loved the title—the notion that the scalloped potatoes were just there to lend a helping hand to the hamburger led my brothers and sisters and me to break into an impromptu chorus of"You've Got a Friend" every time the dish appeared on the dinner table,which was every other night. Because my parents came of age in the Depression in large families—my mother is the last of seven,my father the last of eight—food was not something they were inclined to be ironic about. On the rare occasions when my father cooked,his two specialties were something he called Scrambled Hamburger,which was ground beef browned and plated and presented to us as if it were foie gran (apparently his hamburger did not need any help) and Welsh Rarebit,which I can only assume that my father, a working-class boy from Tarboro,North Carolina,picked up while overseas during World War II. Even though we tried to attack the latter dish with our characteristic irony, calling it English Rabbit, its simplicity—as I remember, a puddle of melted cheese over toast put it in the same category as Flaubert's limited heroine Felicite, in"A Simple Heart,"about whom the literary critic Jonathon Culler, in answer to those who read the author's treatment of her as cruelly ironic, argued that there was nothing there for irony to deflate. My mother agreed to write her cooking column not because she was interested in cooking but because my father's newspaper did not have a cooking column. Nor did the rival paper,the Republican one, across town. A cooking column was needed, my mother was a woman,women wrote cooking columns. Brick Cheese,Boiled Cabbage, and Buttermilk Elizabeth S. D. Engelhardt 7 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F My mother has a sensitive nose. Smells go straight to her head. Particularly troublesome are paint thinners,mothballs,petroleum products, lawn chemicals, glues,turpentine, and dead things. Crack a container open a floor and several rooms away, and she is knocked out seconds later. Unfortunately for her nose, she married a chemical engineer. My father filled the basement of their house in western North Carolina with carefully labeled containers full of industrial-strength preparations. He drove to South Carolina for the"good"pest and weed killers,the ones banned in North Carolina. He had a side business through my childhood repairing cars in the basement and driveway. Broken cars leak, gush, and ooze gasoline, oil, paint, and epoxies. Mom would take to the den at the longest physical distance from his explosions of smells and fumes and quietly sigh. Nowhere did the battle of smells wage stronger than over food. And no food smelled riper, with more stench, and over a greater area of impact than Dad's Wisconsin-born Brick Cheese. This is the story of a table where the people mesh easily but their foods do not. For every romantic tale of breaking bread together on a Carolina table, for every sweet conversion to a new land brought about by trading lovingly prepared, flavorful bites for gifts of new tastes in return,there sits one food that proves a bridge too far. In this case, it threatened to shut down the town post office, was the source of a formal grievance filed at the local factory, and segregated an upstairs refrigerator and freezer from a downstairs set, locked in a permanent standoff of close to fifty years' running. Western North Carolina, and indeed all of Appalachia, is experiencing a food renaissance. People search for heritage foods; compose loving photo-essays of its tables; produce glossy cookbooks; and flock to pop-up dinners celebrating Appalachian foodways simple and complex.' Ripe,rich, smelly, and stinky foods can be found throughout the newly celebrated mountain food traditions. Ask people to name an Appalachian food and they may well come up with the smelliest of them all: ramps. Legendary wild onions, ramps ooze through your skin, hang in a house, and coat a valley. 1 The Appalachian Food Summit, recipient of the 2015 John Egerton award from the Southern Foodways Alliance,held its third regional symposium in Fall 2016 at Berea, Kentucky (ht:tp://gr o a pi iac brat ber e r.edu/ds/).Among Appalachian cities,Asheville leads in pop-up dinners, such as those by the Blind Pig group (ht tpOthel n p gsu pl ° lu ,com ). In the Washington Post, Jane Black declared, "The Next Big Thing in American Regional Cooking: Humble Appalachia," 29 March 2016,liftlp_s //wwww;i ➢_t u tonpost.cornjlifestyle/food/the•rw t�hrg-thing-m american regionaI-cookies humble-app .Lichia Olt'/03/2 //ida.I76a-f06dd1t.e5- 89r =l-c;td,l7l'a c e95e0 sior°y.ht tni . Cookbooks include Sean Brock's Heritage (Artisan, 2014) and Ronni Lundy's Victuals:An Appalachian Journey with Recipes (Clarkson Potter, 2016). For more on this new interest, see my own"Appalachian Chicken and Waffles: Countering Southern Food Fetishism,"Southern Cultures 21.1 (Spring 2015), 73-83. 8 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F They cause nonbelievers to beg they not be disturbed,much less eaten. Devotees dig them with special hoes, follow old paths to patches, and harness social media to spread news of early sightings each spring. My mother's family was not enthusiastic about ramps, only occasionally bringing some home to freezers after trips to community festivals. Still,the family had its own smelly food traditions. The cloying flatness of my grandmother's boiled cabbage hit my senses as soon as I reached the porch on the way into her kitchen on winter days. It stayed in my nose no matter how much rich macaroni and cheese or fresh angel's food cake my eight- year-old self tried discretely to sniff while eating. Pickled beans,beets, carrots, and onions offered their own twitch to the nose, sometimes accompanied by the boss of them all: kraut. I have an uncle who still swears by his dose of apple cider vinegar every day, the uncorking of which can overpower a room. Even the longstanding family prescription to settle a troublesome belly, fresh buttermilk,wafts tendrils of sharpness into the air and causes those spots on either side of your throat to catch tightly as it slides down to coat your insides against further twinges. Today,people exchange leads for where to find the best, strongest,richest buttermilk for sale like they are stock tips—guarded, rarely shared, and robustly valued. In the 1970s,though,recipes in our house were more likely from Southern Living than old mountain knowledge; bridge party food reigned as the pinnacle of food preparation; and cheese in western North Carolina was rarely adventuresome. It was American, and it was orange. For special treats mild,rubbery "Swiss" or gentle, inoffensive"cheddar" appeared, but this was before even the relative wildness of the Havarti years. Bleu cheese dressing was "blue"and creamy but not fragrant. Hickory Farms might add the tiniest bite to their cheese balls as a holiday special. Occasionally,my mother and friends sprinkled essence of cayenne into the cheese straws but only for rare evening bridge parties, and never too much. The Gift of Crisco Cathy Cleary As a vegetarian I used to be curious about my husband Reid's interest in meat-eating- pork-eating in particular. I remember watching him across the dinner table as he closed his eyes and made emphatic pleasure noises while chewing slices of sausage. I wanted to understand. Reid loves to eat, and actually, I love to cook with him in mind. I love to feed anyone,but he might be my favorite person to think about while I'm exploring flavor combinations. I 9 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F enjoy the process of figuring out he and other people I cook for like to eat and why. Yet, Reid's enthusiasm for pork was a mystery to me. I suspected his Eastern North Carolina upbringing may have had an influence on his pork love. I grew up in North Carolina too,but my hometown of Chapel Hill was hardly the heart of Southern tradition. I remember a few"pig pickin's" in our neighborhood, and my dad helping to stoke the fire all day long,but I remember the community ritual of those events more than the finished product. I was a bit of a rebel, having proclaimed my vegetarianism at a young age,probably before ever tasting any of that slow cooked BBQ. I thought maybe I had restricted my exposure to the pork influences that afforded Reid such an obvious appreciation. The more I reflected on my limited experience with pork and meat in general,the more I realized how important this exposure could be to my life as a cook and consumer of food. I'm fascinated with people's individual food choices. I love hearing the stories behind these choices, sometimes neurotic, sometimes fanatical, but always interesting. How could I truly understand with so much ignorance?I wanted to explore this for myself and for Reid. This desire to explore and understand led me to Crisco the pig. As the owner of a bakery/cafe during the beginning of the farm to table movement I had the opportunity to befriend quite a few local farmers. My farmer friend Tom told me one day that he won a pig at a greased pig contest, and named him Crisco. He asked to have my three day-old breads and pastries to fatten Crisco up a bit, and I gladly obliged. Over the summer we went out to Tom's farm to pay a visit, and got to meet Crisco who seemed about as happy as they get. He had a good sized pen with plenty of shady trees and nice dark brown mud. He had a gorgeous view of the Pisgah Mountain range, and regularly ate pastries and artisan bread for breakfast.Not a bad life for a pig. As the weather started to cool that year, Tom came asked if he could use my commercial kitchen. Apparently Crisco was a master escape artist and had been getting into mischief around the farm. Tom grew dozens of varieties of heirloom garlic, and what pig wouldn't enjoy a little heirloom garlic with his artisan bread?Tom had chased him around and watched him eat up garlic meant for market one too many times. It was time for Crisco to become what he was always destined to be--sausage. 10 DocuSign Envelope ID:A7e705rD-OEoo-4AC5-8704-8805o8e8881r Elizabeth Woodman 307 W. KING STREET, HILLSBOROUGH, NC 27278 ELIZABETH@ENOPUBLISHERS.ORG 919.032.8893 Professional Experience FOUNDER & EXECUTIVE DIRECTOR, ENO PUBLISHERS, 2007 TO PRESENT Founder and editor/publisher of award-winning Eno Pub|inhexo, a nonprofit, regional publishing pro- gram. Work with board of directors to acquire and develop books that advance the organization's mission. Recruit authors. Responsible for all aspects of editorial and production of books. Manage bookkeeping and financial reports. Responsible for fund-raising and grant-writing. Work with mar- keting and sales contractors to publicize and sell books. Participate in book club groups, fund-rais- ing events, publishing-related panels and roundtables, media interviews. CO-FOUNDER &EDITORIAL DIRECTOR,VENTANA PRESS, 1086- 1997 Established and led an independent book publishing company that specialized in readable, highly accessible Internet-related, graphic arto, and science technology books. Developed and managed a smaller list of travel and general interest books. Managed editorial and production departments that published 80 books a year. (Company acquired by Thomson Publishing in 1986] BOOK EDITOR, 1997 - 2007 Edited books and online magazines for various publishers, including Seal Press, John F. Blair Pub' |iahero' Crane Hill, mydailyhealth.com. CONTRIBUTING WRITER, ONGOING Articles and essays have appeared in Salon.com, Los Angles Times, News & Observer(Raleigh), Seattle Pout-/nte0Dancer, San Francisco Examiner, Travel& Leisure, San Francisco Bay Guardian, San Francisco Focus Magazine, and other print and online publications. Community Experience Board of Directors, Friends of the Lihrury, University of North Carolina Libraries, 2012' Hillsborough Poet Laureate Selection Committee, 2016 Advisory Bnavd, University of North Carolina Publishing Institute, 1992-96 Board of Directors, Publishers Association of the South, 1994 97 Rnnipient, Special R000gnidon, Entrepreneurial Achievement, Council for Entrepreneurial Dovo|opment, 1395. Member, Planning Board,Town of Hillsborough, NC 2007-2014 Member, Hillsborough Tourism Boand, Hi||ubomugh, NC 2007 2014 Board Chair, 2012- 13 Board of Trustees, Peace College, Ra|eigh, NC 2005 08 Board of Trustees, Carolina Friends School, Durhum, NC 2003-06 Board of Commissioners, Historic Hillsborough Commission(Burwell School), 2001 -06 Board Chair, 2002 04 Board of Directors, Preservation Fund of Hillsborough, 1998 2000 DocuSign Envelope ID:A7o705rD-OEo o8o8881r Education Mills College, Oallond, CA, 1974, B.A. cum laude University of California, 1977 Duke University, Masters of Liberal Studies program, 1998-2001 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F RANDALL GARRETT KENAN Curriculum Vita (revised 9/2015) Professor,Creative Writing Program Department of English and Comparative Literature 313 Greenlaw Hall, CB#3520 University of North Carolina at Chapel Hill Chapel Hill, NC 27599-3520 919.923.3675 Email: rkenan @email.unc.edu EDUCATION 1985 B.A., University of North Carolina,Chapel Hill. (English) Honors: Creative Writing Minor: Physics. PROFESSIONAL EXPERIENCE 2012- Professor, University of North Carolina at Chapel Hill, English and Comparative Literature Department:Creative Writing Program 2003- Associate Professor, University of North Carolina at Chapel Hill, English and Comparative Literature Department: Creative Writing Program. (Tenure in 2007) 2007- Faculty, Low Residency MFA Program, Pine Manor College,Chestnut Hill, 2015 MA(winter term only) 2010 Writer-in-Residence, University of Nebraska-Lincoln (March) 2004 Visiting Writer, University of North Carolina at Wilmington (October) 2002-2003 Lehman Brady Chair Professor,Center for Documentary Studies, Duke University, Durham, NC 2000-2002 Assistant Professor of English, University of Memphis, Memphis,TN 1998-2000 Visiting Professor of Creative Writing, University of Memphis, Memphis,TN 1997-1998 John & Renee Grisham Writer-in-Residence, University of Mississippi, Oxford 1989-1996 Lecturer,Sarah Lawrence College, Bronxville, NY DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F IENAN...2 1990-1996 Lecturer, Columbia University, eneral College and School of the Arts MFA Program, Y g New York, NY 1995 Eduord Mort-Sir Visiting Professor of Creative Writing,spring, University of North Carolina at Chapel Hill 1994 William Blackburn Visiting Professor in Creative Writing, Fall, Duke University, Durham, North Carolina 1990 Lecturer,Vassar College, Poughkeepsie, New York 1985-1989 Assistant Editor,Alfred A. Knopf, Inc., Publisher,(Random House), New York WRITERS'CONFERENCES 2014 Faculty, Lambda Writers' Retreat, Los Angeles,CA 2012, 2014 Faculty,Voices of Our Nation, UC-Berkley 2010-2012 Faculty,Summer Words Retreat,Aspen Institute,Aspen, CO 2007 Faculty,Solstice Writer's Conference, Pine Manor College, Chestnut Hill, MA 2002-2015, Faculty,Sewanee Writer's Conference, University of the South,Sewanee,TN 2000, 2001 Faculty, Bread Loaf Writers'Conference, Middlebury College, Middlebury,VT 2003, 2006, 2007, 2008, 2009, 2011, 2013, 2015 HONORS,AWARDS,GRANTS, FELLOWSHIPS AND SIMILAR HONORS 2007 Elected to Fellowship of Southern Writers 2005 North Carolina Award for Literature 2002 John Dos Passos Prize 1999 Walking on Water nominated for Southern Book Award 1999 Walking on Water made a main selection for the Book of the Month Club 1998 Mary Hobson Medal for Arts and Letters 1996-97 Rome Prize of the American Academy in Rome&the American Academy of Arts and Letters; Fellow of the American Academy in Rome, 1997 1995 Sherwood Anderson Award 1995 Guest-Fellow,Carolina Institute for the Arts and Humanities at UNC-Chapel Hill, (Spring) 1994 Whiting Writers Award 1994 Simon Guggenheim Memorial Foundation Fellowship 1994 Let the Dead Bury Their Dead, Quality Paperback Book Club/New Voices Award 1993 Ferro-Grumley Award 1993 Nominated for the National Book Critics Circle Award, 1993. 1992 Let the Dead Bury Their Dead, New York Times Most Notable Books of the Year 1992 1992 Finalist Los Angeles Times Book Award for Fiction. , 1 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F KENAN...3 1990 Lila Wallace Reader's Digest Fellow of the MacDowell Colony 1989 New York Foundation of the Arts Fellowship. PUBLICATIONS-BOOKS,including page length The Cross of Redemption: The Uncollected Writing of James Baldwin. Editor and Introduction. New York: Pantheon,2010;Vintage, 2011, 365 pp. The Fire This Time. New York: Melville House,2007, 149 pp. Walking on Water:Black American Lives at the Turn of the Twenty-First Century.Alfred A. Knopf, 1999, 688 pp. [pb: New York:Vintage, 2000; UK edition; London: Little Brown, UK, 1999.] A Time Not Here. photography: Norman Mauskoff;text: Randall Kenan.Santa Fe:Twelve Palms, 1997. James Baldwin:Author. Philadelphia:Chelsea House, 1994,2004,148 pp. Let the Dead Bury Their Dead and Other Stories. New York: Harcourt, Brace,Jovanovich, 1992, 334 pp. [pb. Harvest, 1993; UK edition: Little, Brown, UK, 1994.1 A Visitation of Spirits. New York: Grove Press, 1989, 257 pp. [pb. New York:Anchor Books, 1990; New York:Vintage, 2000; UK edition: Little, Brown, UK, 1995.] BOOKS-IN-PROGRESS "There's a Man Going Round Taking Names," a novel (Draft completed,finishing editing and revisions. Excerpts published). "If I Had Two Wings: Stories," (Seven stories completed,five stories published). Researching nonfiction project on African American cowboys. PUBLICATIONS:BOOK CHAPTERS "Holding on to the Hog," The Southerner's Cookbook,ed, Garden and Gun editors. New York: Harper Wave, 2015 "Chinquapin: Elementary Particles,"Amazing Place: What North Carolina Means to Writers. Ed. Marianne Gingher.Chapel Hill: University of North Carolina Press.2015. "Hillsborough:Where the Wild Things Are,"27 Views of Hillsborough. Hillsborough: Eno Press, 2010. "I Thought I Heard the Shuffle of Angels' Feet,"short story, Between Men 2,edited by Richard Canning. New York:Alyson Books, 2009. r I DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F • KENAN...4 "North Carolina,"essay,State by State:A Panoramic Portrait of America. Ed. by Matt Weiland and Sean Wilsey. New York: Ecco Press, 2008. "Gospel," short story,Killing the Buddha:A Heretic's Bible. New York: Free Press,2004, p239-256. "Serpent Tales:They were Long,Silent,and Sometimes Deadly," essay,Snakes:An Anthology of Serpent Tales,ed. by Willee Lewis. New York: M. Evans&Co.,2003 "Now How Come That Is?,"short story,Giant Steps: The New Generation of African American Writers, edited by Kevin Young. New York: Perennial/HarperCollins,2000. "Visitation of Spirits," novel excerpt,Free Within Ourselves:Fiction Lessons for Black Authors,edited by Jewell Parker Rhodes. New York: Doubleday, 1999. "Now How Come That Is?"short story, The KGB Reader,edited by Ken Foster. New York:Quill/William Morrow, 1998. "The Foundations of the Earth,"short story,Norton Anthology of Southern Literature,edited by Andrews, Gwin, Harris and Hobson. New York:W.W. Norton, 1997. "Run, Mourner, Run,"short story, Children of the Night:African American Short Stories,edited by Gloria Naylor. New York: HarperCollins, 1996. "Wash Me,"short story,Shade:An Anthology of Fiction by Gay Men of African Descent,edited by Bruce Morrow and Charles H. Rowell. New York: Avon Books, 1996. "Mr. Brown and the Sweet Science of Life,"essay,Speak My Name:An Anthology of African American Men, edited by Don Belton. Boston: Beacon Press,1995. "Children of the Morning:An Afternoon in Cleveland," profile, Twenty Questions for the Writer:A Rhetoric with Readings,sixth edition,edited by Jacqueline Berke and Randal Woodland. New York: Harcourt, Brace, 1995. "Hobbits and Hobgoblins,"short story, Writer's Harvest,edited by William H.Shore. New York: Harvest/ Harcourt, Brace, 1994. "Run, Mourner, Run,"short story, The Penguin Book of Gay Short Stories, edited by David Leavitt and Mark Mitchell. New York:Viking, 1994. "The Strange and Tragic Ballad of Mabel Pearsall,"short story, [also an interview by Ketchin], The Christ- Haunted Landscape:Faith and Doubt in Southern Fiction, edited by Susan Ketchin. Jackson: University Press of Mississippi, 1994. "A Visitation of Spirits,"first chapter excerpted, Being in the World:An Environmental Reader for Writers, edited by Scott H.Slovic and Terrel F. Dixon. New York: MacMillan, 1992. "The Virtue Called Vanity,"short story, The Rough Road Home:Stories by North Carolina Writers,edited by Robert Gingher. Chapel Hill: University of North Carolina Press, 1992. I I DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F Organizational Budget 2014/15 Income Gov't Grants 5,000 Foundations 0 Individual Contributions 2,200 In-kind Support 1500 Book Sales/ebook Sales 11,944 20,644 Expenses Salaries deferred Insurance & benefits deferred Consulting& Professional fees Marketing 2830 Design & Production 3100 Authors' fees 3300 Accounting 1050 Printing books 4290 Printing--marketing 350 Book--other 460 Travel & Meals 580 Equipment 1150 Supplies 590 Rent& Utilities 1721 Postage & Delivery 1223 20644 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F Organizational Budget 2015/16 Income Gov't Grants 5,000 Foundations 3400 Individual Contributions 2,875 In-kind Support 1500 Book Sales/ebook Sales 13,717 26,492 Expenses Salaries deferred Insurance & benefits deferred Consulting& Professional fees Marketing 2320 Design & Production 4760 Authors' fees 4000 Accounting 950 Printing books 6250 Printing--marketing 950 Book--other 642 Travel & Meals 220 Equipment 2950 Supplies 585 Rent & Utilities 1721 Postage & Delivery 1144 26492 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F Organizational Budget 2016/17 Income Gov't Grants 6,500 Foundations 1200 Individual Contributions 1,000 In-kind Support Book Sales/ebook Sales 16,200 24,900 Expenses Salaries deferred Insurance & benefits deferred Consulting& Professional fees Marketing 3000 Design & Production 3150 Authors' fees 5500 Accounting 950 Printing books 6,450 Printing--marketing 1,000 Book--other 500 Travel & Meals 550 Equipment 170 Supplies 650 Rent & Utilities 1730 Postage & Delivery 1250 24900 Randall Kenan rkenan @email.unc.edu 313 Greenlaw, CB #3520, UNC, Chapel Hill, NC 27599 919-923-3674 Lee Smith lee.goodolgirl @gmail.com 219 N. Churton St.. Hillsborough NC 27278 919-644-1572 Jill McCorkle j_mccork @yahoo.com 1800 Halls Mill Rd.,Hillsborough, NC 27278 919-643-0566 Elizabeth Engelhardt e.engelhardt @unc.edu 217 Greenlaw, CB #3520, UNC, Chapel Hill, NC 27599 919-962-6873 Bill Ferris wferris @unc.edu 410 E. Franklin, #CB9127, UNC Chapel Hill, NC 27599 919-962-0519 Bill Smith billsmithjr @earthlink.net 627 N. Columbia St., Chapel Hill, NC 27516 919-929-7643 Daniel Wallace danielwallacel @mac.com 208 Ridgecrest Dr., Chapel Hill, NC 27514 919-962-4052 Jaki Shelton Green wildwoman46 @hotmail.corr 226 S. Eleventh St., Mebane, NC (Orange Co.) 919-219-0063 Sophia Woo sophia @phonomenaldumpli 406 Stone Flower Lane, Raleigh, NC 27603 919-268-1654 Emily Wallace emilyewallace @gmail.com 2601 Vineyard Street, Durham, NC 27707 919-306-5515 Tom Rankin tom.rankin @duke.edu 1800 Halls Mill Rd, Hillsborough, NC 27278 919-643-0566 Michael Malone michamalone @aol.com 201 S. Cameron St., Hillsborough, NC 27278 919-245-3358 Wayne Caldwell owlhead38 @gmail.com P.O. Box 1000, Candler, NC 28715-1000 828-253-9403 Rhonda Bellamy artscouncilofwilmingtonandi 221 N. Front St., Suite 101, Wilmington, NC 28401 910-343-0998 Paul Cuadros pcuadros @mindspring.com 258 Bellemont Road, Pittsboro, NC 27312 919-962-4091 Celia Rivenbark celiariven @aol.com 215 N. 18th St., Wilmington, NC 28405 910-200-5845 Wiley Cash wiley.cash @gmail.com 6100 Tarin Road Wilmington,NC 28409 304-377-7620 Steven Petrow petrow @bluedahlia.net 144 N.Wake St.,Hillsborough,NC 2.7,-78 919-619-9830 Michael White whitem @uncw.edu 321 Kenwood Ave. Wilmington, NC 28405 910-962-3519 co Shelia Smith McKoy ssmckoy @ncsu.edu 233 Newton Road,Raleigh,NC 27615 919.771.3631 o Heather Newton hnewton @heathernewton.n P.O. Box 2866, Asheville, NC 28802 828-254-7177 co Marcie Cohen Ferris ferrism @email.unc.edu 320 Greenlaw, CB #3520, UNC, Chapel Hill, NC 27599 919-968-8280 r- Marianne Gingher mbging @email.unc.edu 301 E. Hendrix Street, Greensboro NC 27401 336-601-5374 LO Michael Parker parkermfp @gmail.com 609-B Courtland St. Greensboro NC 27401 336-334-5311 o Cathy Cleary cathycleary @gmail.com 82 Vermont Ave., Asheville, NC 28806 828-255-0296 o Diya Abdo abdod @guilford.edu 4803 Tara Dr., Greensboro NC 27410 336-316-2214 Lenard Moore poet_Idm @bellsouth.net 5625 Continental Way, Raleigh, NC 27610 919-231-8536 LO m Vivian Howard vh @chefandthefarmer.com 120 Gordon St., Kinston, NC 28501 252-208-2433 a Richard Chess rchess @unca.edu 177 Skyview Circle, Asheville, NC 28804 828.251.6576 °— Bridgette Lacy bridgettelacy @att.net 4100 Beaufain St., Raleigh, NC 27604 919-872-4234 CL C 0 w c v U O O Jeffery Beam jeffbeam @email.unc.edu 3212 Arthur Minnis Rd., Hillsborough, NC 27278 919-967-2470 Michael McFee mcfee @email.unc.edu 2514 Pickett Rd., Durham, NC 27705 919-962-3461 Nancy McDermott nancie @nanciemcdermott.c 205 Black Tie Land, Chapel Hill, NC 27514 919-933-8850 John McElwee jtmcelwee @gmail.com in transition at the moment 704-975-3945 Moreton Neal moretonneal @gmail.com 712 Greenwood Road, Chapel Hill, NC 27514 919-967-9111 0) 0) CO M CO 0 LO O rn 0 d 0 r- C? LO U Q O O W O O LO 0 0 m Q O_ CL 0 c w C 0 U O O DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F Eno Publishers Staff 2,oi6 Elizabeth Woodman Founder,Publisher elizabeth@enopublishers.org P.O.Box 158 Hillsborough,NC 27278 919-632-6893 Laura Lacy Marketing Manager lauralacy @enopublishers.org P.O.Box 158 Hillsborough,NC 27278 865-924-7430 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F Eno Publishers Board of Directors 2016 Brenda Stephens 2016 5807 Craig Road Durham NC 27712 bookladY52 @msn.com 919-309-0919 Retired Director,Orange County Public Libraries David McCullough 2016 123 E.Union Street Hillsborough,NC 27278 mcclughh @aol.com 919-732-7184 Retired senior executive Book-of-the-Month Club&author Randall Kenan 2017 313 Greenlaw Hall University of North Carolina Chapel Hill,NC 27599 rkenan @email.unc.edu 919-923-3675 Novelist,scholar,Professor of English,UNC,Chapel Hill John Bemis 2017 125 Tuscarora Dr. Hillsborough,NC 27278 john @johnclaudebemis.com [phone not available] Novelist,former educator,Orange Co.Public Schools Peggy Myers 2017 105 Fallen Log Chapel Hill NC 27516 mcmyers.nc @gmail.com 919-967-9767 Former director of Library Development,UNC-Chapel Hill Libraries, now with UNC Development Office Katherine Kopp 2018 501 E.Rosemary St., Chapel Hill,NC 27514 kkopp3 @gmail.com 919.741.9444 Editor,writer,development communications writer,real estate broker David Perry 2018 407 Robert Hunt Drive, Carrboro,NC 27510 Perrythechief @gmail.com 919-962-0482 Retired Editor-in-Chief,UNC Press DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F Steven Petrow 2018 14.4 N.Wake St., Hillsborough,NC 27278 petrow @bluedahlia.net 919-619-9830 Author, Washington Postcolumnist Adrienne Fox 2018 2256 Cranford Road, Durham,NC 27705 afox6 @nc.rr.com 919-478-7013 Attorney,Retired Professor of Law NCCU,writer Gita Schonfeld 2019 2500 Alpine Road Durham,NC 27707 gita.schonfeld @gmail.com 919-489-0733 Former publisher, Carolina Parent;former Marketing Director,Eno III III II DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F 1 ( „)l' ,) i VI 1'ti V ) / . '? I .V .A' ::. Behind d th Scenes PI' y NPpWB N MM h rU ! , k X,Ck N I MvrN wl r,t BEHIND THE 1 , ' Ahollio , 0 11 Ili OR' THIRTY YEARS A SLAVE) AND FOUR YEARS ill, 0 lep ill 14 "'PT, IN THE WHITE HOUSE WtiN, „urvUn, 111i ,�y�1 � (,!, `h' 'IN�'m'dRYrIP'ifi�A"h7�14➢IUTAJ �//�;-l 4� X�l���s. ,�r�,�/6NI,rm�9tlPi�"1pp�'i�UPf� l r�',M'SNiPa�'�Y91iW�MtlIP�PYS'tr#�u�IVUid�rN1�YM1i11V�Im��YMii�4A7M��h'ulii6'�'VIIHGN'�'4iIWUP1NIt7iWl�IIWP��1p�IIll�VNgfiY�ilVkuE+Vid"�'PrYVhkiVVY�A'�7hJ�u�1V�,Y gdllW�l'dI�V#ki�IVllYll{2N';MUIn1�IV�"I�i�I�Vb'dIWN'�'h�IAPnUN�id'(%W�tY'i�'IfN4i0'R1�Y�ItdGPf1�9Y0a'WI�IIYIIP!%M1i�i6V�4a'&dNOIWN,�p�M'Cd�pVdtlYO�°��tikkuU97�V?>,+'�tiutiW71,S1�`a�t��M1�N ; nDw P///i P�� rro r. M r,., .onoatiW .w „mxar,Ww mnmtirNaa r,,., mw,b a aw,,r e . n.,.,e,on ,n a„rc, w:, ,n un,ni xr .goo,.,fly., NV,.mn 1000R 11 ji N ,fl i , i 'L. BY ELIZABETH HOBBS KECKLEY 4r 1/"fit °(k NEW EDITION FROM ENO PUBLISHERS 1 ill 1 I.t4 X.te.11N 41)i.h,ri P9 iiiinillon 1 AVAILABLE APRIL 4) 2016 WITH AN INTRODUCTION BY DOLEN PERKINS—VALDEZ FIRST PUBLISHED IN 1868 Hillsborough, NC—"I have often been asked to write my life . . . it has been an eventful one," wrote Elizabeth Keckley in her r autobiography Behind the Scenes: Or, Thirty Tears a Slave, and Four Tears in the White House. First published in 1868, it is one of the „�1 most candid and poignant slave narratives. It also looks beyond In her critically' % Emancipation and is, in the words of historian William L. Andrews, acclaimed novels ,',, t "the first major text to represent the interests and aims of this Wench and nascent African American leadership class in the postwar era." Balm,Dolenrr/ 1 1 v 11',', Perkins-Valdez 0111 1 011111 t, t innuoullIllo Born into slavery, Keckley endured untold hardships but she explores African 1/�� eventually purchased her freedom in the 185os. Self-reliant and American life r��v W� enterprising, Keckley used her dressmaking skills to set up a before and after the Civil War. successful business in Civil War-era Washington, DC, where she She has been annalist for two became the modiste of choice for many of the city's most fashionable NAACP Image Awards as well women. Her talents and warmth led her to become seamstress to as the Hurston-Wright Legacy Mary Todd Lincoln and confidante to both Mary and Abraham Award for fiction. Wench Lincoln. received the First Novelist Award from the Black Caucus of After President Lincoln's assassination, Keckley became caretaker to the American Library the former First Lady, whose financial troubles mounted and mental Association. 1 health declined. In an effort to buoy their financial fortunes and restore Mary Lincoln's battered public image, Keckley wrote Behind the Scenes. Much to her surprise, it was labeled as "treacherous" and $10.00,18q.pages ended her relationship with Mary Lincoln. Elizabeth Keckley is now Also available as an e-book remembered as an entrepreneur, fashion designer, community ISBN978-o-9896o92-7-2 activist, educator, writer, as well as friend to Mary Todd Lincoln. 01 " l i 1) • www.enopublishers.org Media contact: Laura Lacy, lauralacy@enopubLishers.org Docu Sig n Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F H111100410 1 Information about , „ii lli , oloolooll 27 ,/ i // of vv ' ngfon 1111,1 1 The Port City in Prose & Poetry P [ 111111111 11111 11,11,11 1111.11.1.1 11.11:::::............ 1_................... 1111111 1 1 p.......... . 1 mm11111111111111111 Iffiffiffil 11111111 111111111 1 111111111111111 11111ii'll 111 11.1.1111111111111mmiiiiiiiiimmill iffiliiiiiiiiiiiiiiffill. r 1 ill 11111111.1„1„ 111,11,11,111 lmllmmmmmmmlmmmm......m...„i„Immm. 1 ...millimmil. 1 .ffimm....111 1 11111 iffiffiffillim ffi...........m.II ffiffiffiffiffiffiffiffiffiffiffiffiffiffiffiffillImm„..mmmmmmmmmmmmmmmmmmmmmm„. R 11,1111,111,11,111,111,111,111,111,111,111,111,111,111,111,111,111,111,111,1111110p ollououluouvolo■ ovolollooloolooloolooloolool q IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII 11111111111,,,,ImmtHHHIm mffiffiffim . 1 mil mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm11111111111111111111111111111,11,11,1111111111111111111111111111111111111111 Hffill111111111111110 II mm11111111111111111111111111111111111 IIIIIIIIIIIII '1111111111111111111111 '''''''" 1111111111111111111111111111111111111111111111111 MMHiiimm111111111111111111111111111111111 iffilli 1.1 .ffiffiffirffiffiffiffiffi 0000m000000000fi0000000000 mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm 1111 1 1 II 1111119, iffiffiffiffil....III 1 IIIIIIIMmmmmmIlmmmmmmmmml 1111............................11111111111111111111 11 1 11111111111111111111111111111111111111114mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmimmmmommm 11111111111111'1'1'11'1111111111111111111111111111111111.11.11111111.1111111111111111111111111111111111111111111111111111111111111111111111ffiffiffiffiffiffiffilliIIIIIIIII 1.11,1, mmmmmmmmm111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111mmmmi 111111111111111111111111111111 mm111111.1.1 1111 Iffiffillimmlill IIIIIIIIIIIIIIIIIIIIIII 1 11,40 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII1111111111111111111111111 11,111,11 111,111111 111111mm iiiinIIIIIIII 1111 III 11 11.111,1111111 1111110I0111111111111111111111111101 111,11,111111111111111111111111111111111111111111111111111111mmImmlm Il!I 11 1 11,11.1111.1 1 1111ololoolhoollohoill 1 . E1„,„,„„,,,,,11,„, 11111111111111111,11111 1.11,1, kffiffilly 11111111mmmmmmmmmmmml ifilmi, 1111111111111111 1,,,,,,,,, 1, 1„, 1 ,111 1„„,, 1111„10,111„11111,111111,11101„1„1011„oh„„1,111„,„„„„„„„„„„„„„„,,I,,1„„,,,I,1,,1„„„„,1,,11,1,11,1,1,0,1,0,,,,,111,,111,11,0,11,„,,,„1,1,„, , i 1..AL.0-1 ,4f. 1 tik.11,11110vi ,,,1)1,i,,/ 1 ,,,,i, S Pl4if Ire t( l'ooll, IV IJ 1 ,11,w '1,,j 0))111hoi?'1(i/) y 1 1 I 'I) (.0 ;' on,k L ,.. I Tiffilf ifkr "•1°11-*. .1'''''' ii‘fYfird.fiff J'''' m I. r41,':old- "I I/,/likliti !) . ' l 11 _i "1111 ,1,10 1 00000000hloohlo S if)) 0 oi010000000011,01, 1')10000 " ...,J _ , ,,,,,,,,,, ' „,„ , i'''''''' ' ''' 7'.AW1 j '.''',.11 :'.4fWt, ,,) 1 r 1TJ 010 i .'", ''' ,.' ''''- ' _,, 11110100111,1,,,,,,111,1,1,1,1,11,101 Ii11,1111,1111101,111r$ ' /dr 1 1 f / ., 44 11,1ollolloolloolomoo„„,1,1, / d, i'llA, 1,111111000011 t. , / 1 t:1' 0 0 i I ' '' — ::---' K 1, qt111,,,,111110011 //It till ,, oo ,'',,' 0 i ( if : 'it' 1 t*' i ,,r \ , — 101000,10000,0000001 1 1 it' I 4 po oil,plot/41I11110, IIIIIII1v1v111101411 , 1411lookoulloolovul 11,14,4144400loold/ ,110114,11I111011011Ir 00040000000000000041 )I i 1 1 i li / &it Isiii‘cl t/11P6tcr‘ A r ', / / '//'''''„,,,,//,,, , /,/,/, yi,7r///Pr/V;/,ir'*ii// 1,,/(z6 11 t, 1„,11111111111111,1,......11111111.1111, / , j i A 1 muivivoloolo'l wi II/fi I li,, i 1111110111 Eno Publishers • www.enopublishers.org "111111 ,s,c4,0 ki'llli■lil Made possible possible with a grant from the z 0 North Carolina Arts Council vfvfw.n ca rts.org DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F I Ii�X illk IIIIII0IIIIIIIIIIII lo Press Release u0„1 II MI 11,1 11,11,,. U���1�ll�'U If ��lII� I '���� II IIIW����V11 0I��IIW 111JJ III��IIIIIpp1„,fI'kf„,,I i1 fI ff IJJ0.J1J1��1111JJ1i11U��11����I I((111gl0ll)J�l 0 `I oIIIU'�f�(IfIIlIlIl CIllll 611J/J 1 II�1� f I1 00 Jm afN,111 Eno Publishers is pleased to announce the publication of 27 Views of Wilmington: The Port City in Prose &. Poetry,which showcases the literary life of one of North Carolina's most popular cities. Twenty-seven Wilmington authors and poets R contribute their"views"to the anthology, capturing the city, both present and past. They offer a broad and varied picture of the Port City—from its natural beauty to its influx of newcomers to its efforts to come to terms with past racial violence to the personal histories woven into the fabric of the community. VIII VI'I'I'I'IIII lhlllllllllllllllllllll "At the end of the day,when the sunsets on the river or salt marsh attain a shade of pink-gold that only filmmakers whose Kickstarter campaigns have done very IIVIIVIIIIIIIIIIIIIIIIIIIIIIIIpIIIIIIIIIIIIIIIIIIIIN�llllll�l u;l;;;;;;IIIIIIIIIIIIIIIIIIIIIIIIIIIIiiiil well seem to get just right,Wilmington's charm lies in its oddball blend of old and new, rural and urban, chic and casual,"writes national best-selling humorist Celia Rivenbark in the introduction. She and other contributors such as John Jeremiah uquuuuuuuuuuouuuuuuuuup, Karen Rhonda Bellamy, Emily Louise S , 6000.0.00°�� Sullivan, aren Bender,Jason Mott, Nan Graham, y y Smith, Philip Gerard,Susan Block, Hannah Dela Cruz Abrams, Bertha Boykin Todd, Michael White and many others capture a multitude of these charms in their uuuuuuuuuuuuuuuuuuuuu selections. 27 Views of Wilmington is the eighth / and final book in Eno Publishers's K popular 27 Views local literary series. Imo A The series has also published editions , L'''''L, fl for Charlotte, Chapel Hill, Durham, IIIIIIIIIIIIIIIIIIIIIIIVOIIIIII Greensboro.o."We developed this series ** to reflect the rich and diverse range of IIIIII uuuuuuuuuuu g loullvoices and perspectives in our communities and to impart an all- important sense of place," comments ii ^^ ty #'1// , 1 Eno's publisher Elizabeth Woodman. , . "We are fortunate to live in one of the most literary states in the U.S." 11111 OLO For press inquiries, contact Laura Lacy at Iauralacy @enopublishers.org, 865.924.7430 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F ti 11111111111111111 Contributors .1001111 011111111 !t;11 1 „„,l '��111111 illllilJllll °Ill mIrmJ' 1111 f1 n 111111 „,0,,,, 1111„ hhh;pu 11101100 2 Celia Rivenbark Ashley Wahl u°°°� ° Sheila Webster Boneham Michael White P ������11IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII , f�f Nan Graham Karen E. Bender R uuuuuuuuull �I Hannah Dela Cruz Abrams Emily A. Colin 1 ,,,„„„„1„0„„„„„„„0„„„„,„,,, Marlon Moore James Leutze l�uuuuuuuuuuuuuuuuuiuuml u I Philip Gerard Jean Jones Susan T. Block Wendy Brenner E lo Gwenyfar Robert Anthony Siegel fill°°°°°°°°°°°°� '"V h 1T i P iii No M e l o d i e Homer Daniel Norris S `j Wiley Cash Jason Frye Rhonda Bellamy / Jason Mott ��, u�uuuuuuuuuuuuuuuuuuuuum �� :/sC/i)/ �%�IIIIhIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII�� �� a Kevin Maurer , �%��S 11111111111111111111111111111111111111111 I J Bertha Boykin Todd ,�� �G; Dana Sachs I uuuuuuuuuuuuuuuuuuuipp b Virginia Holman �1! 0 John Jeremiah Sullivan G�► idiiiiiiiiiiiiiiii�i °°°°°°°°�i�i �� �' 111111111111111111111111111111?11111111111111111111111111111111111111111111111111 1, Emily Louise Smith uiiiiihiiiiiiiii'i'i'i'iiiiui'i'i'i'i'i'iVu _� �° �M ormel K i About Eno Publishers ,, ,000000 1 0000 . Pll;„ ';,; ; ayl ` " I V 1 u ir, 1�� rile i� {,lil ' 111 I�r X11„1 ilmo i �Ml, IIIIII iIIIIIIIIIIIIIIIIIIIIIIIIIIIIII, In,. 00„tl Na0h0u 0 is a nonprofit publisher dedicated to producing high- quality books in all formats about the culture and history of the y �' Carolinas and the South. From the arts and the region's imaginative 00 cuisine to its much storied and complicated past to the environment and the way we live in it, the South is fertile ground for publishing. Eno uuuiiiiiiii�uuuuiuiilill looks forward to publishing several books each year that explore II exciting and creative aspects of life in this region. lumill ............ For press inquiries, contact Laura Lacy at lauralacy @enopublishers.org, 865.924.7430 DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F A peek at a few of the "views"... II�II I NI MIN 1I111 I 11 I I �ll���l� "R r„,,h 1'„111 , 1111 °I 91�1 uu,u,P Own l �1 11; �rrt��� I I I II III P „,,,„„„„„„„„„„„„„„„„„„„„ ,,,„„„„„„„„„,„„„„„„„„„„„„ While it's unbecoming to brag, it's hard 1,10ifilmllw,„ to be humble when you have such fine 1111 111111111111111111111111111111 weather and clean beaches that you're R ,, ,,,,,H,,,,m,„ lo, ' rated among the world's best by 0,u i uuuuuuuuuuuotll l people who keep track of that sort of uouuu '' I1111 ul u thing. —Celia Rivenbark E „, Some nights I run the beach end to end . . . No AIL 0IIIIIIIIIIIIIIIIIIIIIIIIIIIII0ICI matter how many times I pass through here, the ,,t o . pollumn�� ocean is s never l less s s imposing. Everything's S dialed up on this side: the smell of salt, the inky expanse of sky, the bright stories of / 1 constellations. "My god,” I say to greet it, Mir S stretching my arms overhead, "I live here." —Emily Louise Smith 00i 1 1 People say that you put down roots. I don't think I've put down roots here . . . Rather, I have allowed the city to grow up around me, spread K its tendrils and branches through El iii my life. Wilmington and I have lNililillluuuuuuuuuuuuu i ' r passed through seasons together. In dIVIIIMuuuuuuuuuuuuuuumlllllllllN this city, I have watched the fall of TH L n PIG$ blazing leaves and the new shoots mummol liiiiiiiii @u blossom. —Dana Sachs IIIIIIII o uu mfu I came to realize that nowhere ,j , had I found history so alive and 11111111111111111111111111111111111111111101 ii" r. relevant as in Wilmington. , I � r —James Leutze eye -,#. oc, / . 1M 1 lonput For press inquiries, contact Laura Lacy at lauralacy @enopublishers.org, 865.924.7430 DocuSign Envelope ID: A7B705FD-OEDD-4AC5-8764-8905D8B8991 F 1 if w it i' 4, , i.'r„ "_- I ) y� - it II . ,. i y l i h i x r 4.1 MIR I { 1 _ 1.11,"1 .,.r i rr <' 711"i1'r P •. °' ��" n'f9" ter, ,... I Aar a 1 � J ; 'l ., ,, :,, , . 1 ZA ,ly' a Y ..„... ..............•..........,....„,...,..., .. .,.........,,,..,,,.....,,,,..:„.„,,...,„ :„,„. ........,...: ,,,I,!„„„ .... ,. ..„......,....:: „..„..-..,,,,,,,,,, „ , „• .i K �>• ''�� - t�' III7 ... h 1 11, p CrAll VII! o ✓,n- ,,,. iiii...56.,..,_:: ... iiiiiriiir,,,,,,. 'I 4• •1 � � ^ RP nr�wuirw. y III 1 .,� , M. igillif I Ai ,. , P ii ,'' ' .. CY'(AJ't ii IL-11-/-0V..11- ,iii../(i lAjitii ' 4/(A (Itifti ( (.' (9-f.,9-1'„. EDITED gi IN TPODUCTiON BY RANDALL KENAN DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F INTERNAL REVENUE SERVICE P. 0. BOX 2508 DEPARTMENT OF THE TREASURY CINCINNATI, OH 45201 Date: JUL 2008 Employer Identification Number: • ENO PUBLISHERS DLN: 7 C/O KENNON CRAVER BELO CRAIG & MCKEE ConttactPerson: J ALAN CAMPBELL PO BOX 51579 PETER A ORLETT ID# 31436 DURHAM, NC 27717-1579 Contact Telephone Number: (877) 829-5500 Accounting Period Ending: June 30 Public Charity Status: S09 (a) (2) Form 990 Required: Yes Effective Date of Exemption: July 1, 2007 Contribution Deductibility: Yes Advance Ruling Ending Date: June 30, 2012 Addendum Applies: No Dear Applicant: We are pleased to inform you that upon review of your application for tax exempt status we have determined that you are exempt from Federal income tax under section 501 (c) (3) of the Internal Revenue Code. Contributions to you are deductible under section 170 of the Code. You are also qualified to receive tax deductible bequests, devises, transfers or gifts under section 2055, 2106 or 2522 of the Code. Because this letter could help resolve any questions regarding your exempt status, you should keep it in your permanent records. Organizations exempt under section 501 (c) (3) of the Code are further classified as either public charities or private foundations. During your advance ruling period, you will be treated as a public charity. begins with the effective date of your exemption and uends vwith advancepruling ending date shown in the heading of the letter. Shortly before the end of your advance ruling period, we will send you Form 8734, Support Schedule for Advance Ruling Period. You will have 90 days after the end of your advance ruling period to return the completed form. We will then notify you, in writing, about your public charity status. Please see enclosed Publication 4221-PC, Compliance Guide for 501 (c) (3) Public Charities, for some helpful information about your responsibilities as an exempt organization. Letter 1045 (DO/CG) DocuSign Envelope ID:A7B705FD-OEDD-4AC5-8764-8905D8B8991 F -2- ENO PUBLISHERS We have sent a copy of this letter to your representative as indicated in your power of attorney. Sincerely, <:3:4?j291 "frIE:: Robert Choi Director, Exempt Organizations Rulings and Agreements Enclosures: Publication 4221-PC Statute Extension Letter 1045 (DO/CG) DocuSign Envelope ID:A7B705FD-0EDD-4AC5-8764-8905D8B8991 F Form 1023(Rev.6-2006) Name: Eno Publishers EIN: Page 11 Part-X Public Charity Status(Continued) e 509(a)(4)—an organization organized and operated exclusively for testing for public safety. ❑ f 509(a)(1) and 170(b)(1)(A)(iv)—an organization operated for the benefit of a college or university that is owned or ❑ operated by a governmental unit. g 509(a)(1)and 170(b)(1)(A)(vi)—an organization that receives a substantial part of its financial support in the form ❑ of contributions from publicly supported organizations,from a governmental unit, or from the general public. h 509(a)(2)—an organization that normally receives not more than one-third of its financial support from gross V] investment income and receives more than one-third of its financial support from contributions, membership fees, and gross receipts from activities related to its exempt functions(subject to certain exceptions). i A publicly supported organization, but unsure if it is described in 5g or 5h.The organization would like the IRS to ❑ decide the correct status. 6 If you checked box g, h, or i in question 5 above, you must request either an advance or a definitive ruling by selecting one of the boxes below. Refer to the instructions to determine which type of ruling you are eligible to receive. a Request for Advance Ruling: By checking this box and signing the consent, pursuant to section 6501(c)(4) of the Code you request an advance ruling and agree to extend the statute of limitations on the assessment of excise tax under section 4940 of the Code.The tax will apply only if you do not establish public support status at the end of the 5-year advance ruling period.The assessment period will be extended for the 5 advance ruling years to 8 years, 4 months, and 15 days beyond the end of the first year. You have the right to refuse or limit the extension to a mutually agreed-upon period of time or issue(s). Publication 1035,Extending the Tax Assessment Period, provides a more detailed explanation of your rights and the consequences of the choices you make. You may obtain Publication 1035 free of charge from the IRS web site at www.irs.gov or by calling toll-free 1-800-829-3676. Signing this consent will not deprive you of any appeal rights to which you would otherwise be entitled. If you decide not to extend the statute of limitations; you are not eligible for an advance ruling. Consent Fixing-Reriod of Limitations Upon Assessment of Tax Under Se'otidn 4940 of the Internal Revenue Code: For Organization = Elizabeth Woodman 2IZV2.4 g--(Signal. „of Officer,Director,Trustee,or other (Type or print name of signer) D e authori d official) Executive Director (Type or print title or authority of signer) ■qr 1• IRS Director,Exempt Organizations (Date) b Request for Definitive Ruling:Check this box if you have completed one tax year of at least 8 full months and ❑ you are requesting a definitive ruling. To confirm your public support status, answer line 6b(i) if you checked box g in line 5 above. Answer line 6b(ii) if you checked box h in line 5 above. If you checked box i in line 5 above, answer both lines 6b(i) and (ii). (i) (a) Enter 2% of line 8, column (e) on Part IX-A. Statement of Revenues and Expenses. (b) Attach a list showing the name and amount contributed by each person, company, or organization whose ❑ gifts totaled more than the 2% amount. If the answer is "None,"check this box. (ii) (a) For each year amounts are included on lines 1, 2, and 9 of Part IX-A. Statement of Revenues and Expenses, attach a list showing the name of and amount received from each disqualified person.If the answer is "None,"check this box. ❑ (b) For each year amounts are included on line 9 of Part IX-A. Statement of Revenues and Expenses, attach a list showing the name of and amount received from each payer, other than a disqualified person, whose payments were more than the larger of(1) 1% of line 10, Part IX-A. Statement of Revenues and Expenses, or(2) $5,000. If the answer is "None,"check this box. ❑ 7 Did you receive any unusual grants during any of the years shown on Part IX-A. Statement of ❑ Yes © No Revenues and Expenses? If"Yes," attach a list including the name of the contributor,the date and amount of the grant, a brief description of the grant, and explain why it is unusual. Form 1023 (Rev.6-2006)