Download Etowah County, Volume 2 (Images of America) by Mike Goodson, Bob Scarboro PDF

By Mike Goodson, Bob Scarboro


Etowah County quantity II lines the historical past of daily voters during this Alabama community.

Largely derived from the collections of neighborhood photographers Bob Scarboro and Hugh corridor, the photographs during this quantity depict the county's championship activities groups, the drive-in theaters and eating places of the post-World battle II period, and the mansions that after coated Forrest Avenue.

Also incorporated are infrequent and seldom-seen photographs—the outdated dummy engine of the streetcar line that ran from Gadsden to Attalla, and the wood dance pavilion positioned underneath Noccalula Falls on the flip of the century.

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Sample text

Joseph’s crowned Saints are no angelic choirs passively basking in the glory of their God, but Faustian strivers endlessly seeking to shape themselves into progressively better beings, fashioning worlds and creating endless posterity, eternally working to impose order and form on an infinitely malleable cosmos. ’’29 ‘‘When you climb up a ladder,’’ Joseph explained: you must begin at the bottom, and ascend step by step, until you arrive at the top; and so it is with the principles of the Gospel—you must begin with the first and go on until you learn all the principles of exaltation.

3 In his own case, Joseph never admitted a particle of possible self-deception. ’’4 Such certainty, he believed, may be temporally late in coming, but is logically the starting point of true religion. ’’5 It is easy to see why his personal encounter with a conversing Deity would ground his own sense of epistemological certainty. But he clearly saw his own experience as a prototype to which others could—and should—aspire. An chapter 2 the endless quest and perfect knowledge v 23 1833 revelation had the Lord declaring that ‘‘every soul who forsaketh his sins and cometh unto me, and calleth on my name, and obeyeth my voice, and keepeth my commandments, shall see my face, and know that I am’’ (D&C 93:1).

But Mormon culture today—at least its public face—persists stubbornly in its personal and public expressions of religious certainty, even as its members pursue an educational agenda with an anticipated span of eons. Like the contest between authoritarianism and independence, the uneasy coexistence of certainty and searching spurs vigorous debates in the Mormon intellectual community and provides fodder for artists who both explore and depict the cultural tensions that result. Doubtless, the certainty side of the paradox presents both intellectual and artistic culture with special challenges.

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