As Howard Nemerov has said in praise of William Trowbridge’s first poetry collection: “he is very much up on the peculiarities of our little world … He is both funny and serious, seriously funny; probably the best, if not the only, way of dealing with the complex predicament.”
Continuing in this third collection of poems to work in the realm of the serio-comic, Trowbridge explores other borderlands—between the tangible world and the intuitive one, between actuality and memory, between consciousness and unconsciousness, between self as flesh and blood and self as ghost.
This is fast-faced, nervy poetry whose witty, vernacular language moves surprisingly toward transcendence.
In a literature where recognition is hard earned, this anthology demonstrates what distinguishes contemporary Bolivian fiction and poetry from the rest of Latin American writing and shows clearly how Bolivian writers relate to that tradition.
Bolivia is a landlocked nation of mountains and high, arid plains, a place native writer Jesús Urzagasti calls the “Land of Silence.” This crucible of indigenous and European influences has contributed to the creation of a writing style that is always down-to-earth, often grittily realistic.
From this fundamental base, Bolivian writers express provincial customs and values, decry political oppression, and sound universal themes of isolation, even resignation; but, more often, they show the will to move forward as a people. This rich thematic mix encourages what critic Edgar Lora has called the “dynamic and vigorous social dis course” and the resulting “subversive, militant, and revolutionary” qualities of Bolivian literature.
Editor Sandra Reyes has gathered a panoramic sampling of twenty two poets and eighteen fiction writers. Focusing predominantly on living, practicing writers, this anthology defines the current literary voice of Bolivia and gives us a distillation of the contemporary Bolivian consciousness.
Adelaide Cromwell’s pioneering work explores race and the social caste system in an atypical northern environment over a period of two centuries. Based on scholarly sources, interviews, and questionnaires, the study identifies those blacks in Boston who exercised political, economic, and social leadership from the end of the eighteenth century to the middle of the twentieth. The central focus is a comparison of black and white upper-class women in the 1940s.
This rare look at a black social microcosm not located in the South is seminal and timely. Because it concludes at a critical period in American history, The Other Brahmins paints a colorful backdrop for evaluating subsequent changes in urban sociology and stratification. In a groundbreaking study, Cromwell effectively challenges the simplistic notions of hierarchy as they pertain to race.
Because of the intense connection we feel with music, we can remember song lyrics even when we have forgotten the details of our personal lives—even when all else fails, a song can transport us back. In this sense, a song is capable of suspending time. Drawing on this perspective, Peter Twal’s playful, inventive, and wickedly sentimental debut collection takes a set of song lyrics (LCD Soundsystem’s “All My Friends”) and treats them as an artifact of memory itself, blurring the line between self and other, between past and present.
Each poem in Our Earliest Tattoos acts as a passageway from one lyric in the song to the next—the author pries these lyrics open like doors and builds whole rooms between them. As readers progress through the house he builds, they hear the song as the soundtrack to their discoveries: in one room, of party leftovers, and in another, an exploding museum of natural history.
Like memory, the characters in these poems are both present and absent. Sustained by smart phones, they are in constant communication despite always seeming to have just left the room. In one poem, the lonely Mars rover thumbs constantly through pictures on its phone; in another, Death trades in his scythe for a cell phone he uses throughout the book to send disquieting text messages. God, too, is text-happy—when the speaker asks, “Does the universe even care?” God texts back to say, “Don’t forget the twelve / bucks you owe me this year.”
Wise, funny, and wholly original, the long-lined sonnets that make up Our Earliest Tattoos celebrate the surreal, embracing the nature of memory as fragmented—as is visible in the fractured nature of the lines—and inherently bizarre.
Honored with the 1990 American Institute of Architects Gold Medal for a lifetime of outstanding achievement, Fay Jones is an Arkansas original. In receiving the medal from Prince Charles of Great Britain, Jones was hailed as a “powerful and special genius who embodies nearly all the qualities we admire in an architect” and as an artist who used his vision to craft “mysterious and magical places” not only in Arkansas but all over the world.
This book accompanied a special museum exhibit of Jones’s life and work at the Old State House in Little Rock. It traces Jones’s development from his early years as a student of Frank Lloyd Wright and Bruce Goff, to the culmination of his ability in such arresting structures as Pinecote Pavilion in Picayune, Mississippi; Thorncrown Chapel in Eureka Springs, Arkansas; and Chapman University Chapel in Orange, California. Through the black-and-white photographs of the homes, chapels, and other buildings that Jones has created and the accompanying captions and interviews of the architect, the reader is allowed a view into this man’s remarkable talent.
Designing structures that fuse architecture and landscape, the organic and the man-made, Jones has created special places which touch their viewers with the power and subtlety of poetry. Herein we learn why.
From the Foreword by Robert Adams Ivy Jr.:
“Fay Jones’s architecture begins in order and ends in mystery. . . . His role can perhaps best be understood as mediator, a human consciousness that has arisen from the Arkansas soil and scoured the cosmos, then spoken through the voices of stone and wood, steel and glass. Art, philosophy, craft, and human aspiration coalesce in his masterworks, transformed from acts of will into harmonies: Jones lets space sing.”
Lead short story featured in 1993 Best American Short Stories
A wide variety of characters saunter, stalk, run, and sometimes hide in these lively stories about contemporary Southerners. Their experiences revolve around the way life is felt and the way it is lived, reflecting a gap between the plans we make for ourselves and the way things actually turn out. From the jungles of Vietnam to the bayous of Louisiana, from the French countryside to Vicksburg, Mississippi, Ely’s stories reveal how human beings’ unpredictable, unconscious motivations will have their say no matter what steps are taken to silence them.
Certain shadows fall over all the characters—especially the shadows of the Vietnam experience and the struggle between a traditional Southern heritage and the conflicting ideals of contemporary society. The characters in Ely’s stories seem powerless to defend themselves against the ever-changing expectations of a modern life, and yet they gain a new humanity and depth when, with dignity, they embrace their limitations.
Published just days before America’s entry into World War II, Ozark Country is Otto Ernest Rayburn’s love letter to his adopted region. One of several chronicles of the Ozarks that garnered national attention during the Depression and war years, when many Americans craved stories about people and places seemingly untouched by the difficulties of the times, Rayburn’s colorful tour takes readers from the fictional village of Woodville into the backcountry of a region teeming with storytellers, ballad singers, superstitions, and home remedies.
Rayburn’s tales—fantastical, fun, and unapologetically romantic—portray a world that had already nearly disappeared by the time they were written. Yet Rayburn’s depiction of the Ozarks resonates with notions of the region that have persisted in the American consciousness ever since.
The Ozark Trilogy (previously published in 1981, Doubleday) is a widely acclaimed fantasy/science fiction story with, as the title suggests, very strong ties to the Ozark region. Twelve Fair Kingdoms, The Grand Jubilee, And Then There’ll Be Fireworks—the books that comprise the trilogy—chronicle life on the planet Ozark and its Confederation of Continents, which are appropriately named Arkansaw, Oklahomah, Mizzurah, Tinaseeh, Kintucky, and Marktwain. However, the story told here involves much more than a mere transplant of Ozark culture and heritage onto a new planet. While this new Ozark culture maintains and even intensifies many of the “real” Ozark traditions and customs (for instance, “Grannys” hold significant, stabilizing social roles and are important sources of wisdom), the planet Ozark combines many new, fantastical elements with traditional ways. Mules on Ozark fly, and the wise “Grannys” also work magic.
The protagonist of The Ozark Trilogy, Responsible of Brightwater, appears at the center of Ozark society, a society she must save from evil magic, civil war, and, ultimately, alien invasion. As Responsible travels from continent to continent in an attempt to discover and squelch the evil magic and calm the civil unrest, we are witness to many dangerous and sometimes comical adventures along the way, including a spectacular flying Mule crash and a magic duel with a Granny gone bad.
Elgin has created a fantastic world infused with the folk traditions, social and familial hierarchies, and traditional dialect of the Ozarks. While parallels might be drawn between, for example, the break-up of the Confederacy of Continents on planet Ozark and the American Civil War, Elgin comments on aspects of Ozark history and tradition in a non didactic way. The trilogy, with its strong heroine and witty engagement of tradition, is a classic of Ozark literature.
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