A former United States Poet Laureate, winner of a Pulitzer Prize, and recipient of numerous grants and awards, Mona Van Duyn has been hailed as one of our greatest living American poets. To help broaden and uniquely inform our understanding of Van Duyn’s work, editor Michael Burns has gathered ten essays, a poem, a succinct biographical sketch, and Van Duyn’s own laureate address to the Library of Congress.
In the first section of this collection, poets Maxine Kumin and Carolyn Kizer provide tributes that elucidate the special effect Van Duyn’s poetry has had on their work and thought. Pulitzer Prize–winner Richard Howard contributes a poem that both extols the qualities of Van Duyn’s poems and lyrically places those qualities within her contemporary scene.
The second section contains eight essays exploring aspects as varied as Van Duyn’s penchant for particularity, her remarkable ability to rediscover for us the strangeness of everyday living, and her elegant style, fluid in both free verse and form. Included are contributions from Stephen Yenser, Rachel Hadas, Emily Grosholz, Sidney Burris, Ann Townsend, Michael Bugeja, Wyatt Prunty, and Jane Hoogestraat.
The final section opens with Van Duyn’s witty and incisive overview of the state of poetry in America at the close of the twentieth century. Also included is a short narrative history of Van Duyn’s literary career. Filled with keen prose by distinguished poets and critics, this collection is not only a resounding tribute to one poet’s body of work, but also a timely pulse-taking of the literary scene surrounding Van Duyn’s poetry.
New perspectives on the battles that opened the Confederacy to invasion
In early 1862, the Civil War had been raging for almost ten months, and the Confederacy had enjoyed virtually uninterrupted success. From seizing federal property to early battlefield victories, Southern forces had effectively expelled Union authority from nearly all of the Confederacy’s eleven states. The Union suffered repeated setbacks, while modest victories in western Virginia and Kentucky had little strategic impact. By the end of February, however, much had changed.
On February 6, Union gunboats under the joint command of Brigadier General Ulysses S. Grant and Flag Officer Andrew H. Foote captured Fort Henry on the Tennessee River, opening a crucial waterway into the Confederacy. Just days later, Grant moved against Fort Donelson on the Cumberland River. After several days of fighting, the fort surrendered on the 16th, along with more than 13,000 Confederate troops—the largest surrender in US history to that point. These twin victories shattered Confederate control of Kentucky and western Tennessee, allowing Federal soldiers and sailors to use the rivers to threaten the Confederacy’s interior. This first major strategic breakthrough of the war signaled a dramatic shift in momentum and elevated Grant’s national profile.
In this essay collection, leading and emerging scholars provide in-depth analyses of previously overlooked aspects of the Forts Henry and Donelson campaign. Contributors examine how ecological forces influenced the campaign, the effectiveness of the joint command between the Union army and navy, and Union brigadier general Charles F. Smith’s assault that doomed Fort Donelson. They also explore the battle’s impact on the military career of Nathan Bedford Forrest, the effects of surprise during the Confederate breakout attempt from Fort Donelson, Confederate colonel Gabriel Wharton’s memoir, and how the loss of the forts showed Texans that the fight to preserve the enslaved South would cost them more than they had imagined.
In the aftermath of the Forts Henry and Donelson campaign, most of the Civil War still lay ahead. The Confederacy would have many opportunities to regain its momentum and exhaust the Union will to prevail. However, with a few key exceptions, for the rest of the war, the Confederacy fought to defend itself rather than to take new territory. It was in this massive shift of momentum during ten days in 1862 that the war’s military outcome was foreshadowed.
In his plain-spoken lyrics and dramatic monologues, Michael Burns digs at the marrow. His poems—in formal and free verse—are quick, incisive, and always capable of revealing the dark whimsies of fate and the pain of our own actions and inactions.
These poems travel to Casqui mounds in the Arkansas Delta, traffic-clogged urban streets, a wasteland in Oklahoma, and Faulkner’s Rowan Oak. They assume the voices of others so convincingly that we find ourselves face to face with hunters, philanderers, husbands, a Union general, a Snopes, and even a version of God.
Gathering the images of each place, crafting lines in clear, unpretentious language, Burns comes across new knowledge, confronting the ever-present mysteries and the ways the mind loves to lie to itself.
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