Partly because its colonial settlements were tiny, remote, and inconsequential, the early history of Arkansas has been almost entirely neglected. Even Arkansas Post, the principal eighteenth-century settlement, served mainly as a temporary place of residence for trappers and voyageurs. It was also an entrepot for travelers on the Mississippi—a place to be while on the way elsewhere. Only a very few inhabitants, true agricultural settlers, ever established themselves a or around the Post.
For most of the eighteenth century, Arkansas’s non-Indian population was less than one hundred, and never much exceeded five or six hundred. Its European residents of that era, mostly French, have left virtually no physical trace: the oldest buildings and the oldest marked graves in the state date from the 1820s. Drawing on original French and Spanish archival sources, Morris Arnold chronicles for the first time the legal institutions of colonial Arkansas, the attitude of its population towards European legal ideas as were current in Arkansas when Louisiana was transferred to the United States in 1803. Because he views the clash of legal traditions in the upper reaches of the Jefferson’s Louisiana as part of a more general cultural conflict, Arnold closely examines the social and economic characteristics of Arkansas’s early residents in order to explain why, following the American takeover, the common law was introduced into Arkansas with such relative ease.
From the small Cadet Band that supported the school’s military department to the “best in sight and sound” Marching Razorbacks that are a staple of the university’s athletic program, the band has provided the soundtrack to the University of Arkansas.
The rich history of the Razorback Band has spanned almost the entire existence of the University of Arkansas. This book documents the distinguished 130-year history of the band from its humble beginnings in 1874 as an adjunct to the military cadet squad to the major college organization that it is today. Both as a supporting player of the military and ROTC programs and of the athletic department, the Razorback Band has provided the spirited musical excitement required through the years, as well as performing concerts on its own for an appreciative student body and community audience with the Concert Band and Wind Ensemble. Add to that the parallel story of the evolution of an exciting basketball and volleyball spirit band—the Hogwild Band—and you have in this lavishly illustrated book the first-ever history of the music makers of the University of Arkansas.
Finalist, 2019 Miller Williams Poetry Prize
“Poems that lead us to striking insights and strange destinations.”
—Billy Collins
The men who recur as characters throughout Jess Williard’s Unmanly Grief perform their masculinity in a variety of ways: boxing, theater, brotherhood, labor, and familial and romantic love. Marked by a sharp nostalgia, Williard’s poems move from Wisconsin to New York City and back, tracing the geographic movement of the speaker and his family: a teenage sister who disappears and returns, changed irrevocably; an older brother dismantled in adulthood; an ever-sacrificing father. Woven through the musculature of this varied and exciting collection, music appears as readily in dexterous formal verse as in lean, scrappy storytelling. What results is a crooning celebration of struggle and tenderness in this world, “where to be small and furious is enough.”
Finalist, 2020 Milt Kessler Poetry Book Award from the Binghamton Center for Writers
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