Witch Central goes to Costa Rica for summer vacation.

    After a few interim owners, he was sold to a wealthy slaveowner who had a home near Memphis and plantation nearby in Mississippi. Hughes lived there as a house servant until near the end of the Civil War, when he escaped to the Union lines and then, in a daring adventure with the paid help of two Union soldiers, returned to the plantation for his wife. The couple made their way to Canada and after the war to Chicago and Detroit, eventually settling in Milwaukee. There Hughes became relatively comfortable as a hotel attendant and as an entrepreneur laundry operator. Self-educated and eloquent, Hughes wrote and privately published this memoir in 1897. It is a compelling account, by turns searing and compassionate about slavery, slaves, and slaveowners. No reader can be unmoved as Hughes tells about his five attempts to escape, about having to stand by helplessly while watching his wife whipped, of the joy of finally meeting again the brother whom he had not seen since they were little children in Virginia. Yet he also writes knowingly about the economics of slavery and the day-to-day business of the plantation, and the glass-house relationships between slaves and masters. Hughes died in Milwaukee in 1913.This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    (Heinlein’s novel The Puppet Masters had been serialized in the September through November 1951 issues of Galaxy but Gold had merely acquired serial rights to a contract novel which had been written for Scribner’s.) Heinlein never again appeared in Gold’s Galaxy. This novelette, set in a near-future only subtly different from the McCarthyite and politically menacing present deals with social deterioration, cultural breakdown in a careful, documentary style which becomes terrifying. His romantically-linked leads are emotionally affecting but never sentimentalized, the background of chaos in which they enact their tragic, drowning love, is sparingly but furiously painted. Heinlein’s 1952 is clearly the apotheosis of those “Crazy Years” which he had noted in his famous chronological Future History, published a decade earlier in Astounding Science Fiction as a precis of his intended career. Perhaps no story of this period limns its political and cultural dysfunction as accurately as this novelette. Overshadowed by Heinlein’s juveniles and his famous later novels, The Year of the Jackpot may be the purest version of his portfolio and his most memorable work of less than novel length. It is one of his most exemplary stories and perhaps his best.