Although the notebooks identify the influence of writers such as George Barker, Hart Crane, and Dylan Thomas, they primarily present a man endeavoring to chart his own artistic course or destination.
In The One Voice of James Dickey, Gordon Van Ness skillfully documents James Dickey's growth from a callow teen interested primarily in sports to a mature poet who possessed literary genius and who deliberately advanced himself and his career. The letters from 1942 through 1969 depict Dickey gradually establishing a self-identity, deciding to write, struggling to determine a subject matter and style, working determinedly to gain initial recognition, and eventually seeking out the literary establishment to promote himself and his views on poetry. The letters also portray a complex personality with broad interests, acute intelligence, and heightened imagination as well as a deep need to re-create his past and assume various roles in the present." "From Dickey's extensive correspondence, Van Ness has selected not only those letters that best reveal the chronological development of Dickey's career and his conscious efforts to chart its course, but also those that portray his other interests and depict the various features of his personality. The letters are grouped by decade, with each period placed in perspective by a critical introduction. The introductory sections offer a psychological understanding of Dickey's personality by identifying the needs and fears that affected his actions. They also explain the American literary and cultural scene that Dickey confronted as he matured. Together, the letters and commentary yield a sense of Dickey's complex personality - both the man as a writer and the writer as a man - while arguing that he remained "one voice."" "Because how a writer writes - the appearance of a writer's words on a page - makes a statement, the letters are reproduced here without alterations. There are no silent deletions or revisions; the original spelling and punctuation have been preserved. Dickey's letters gathered in The One Voice of James Dickey portray a poet's consciousness, chronicling its growth and revealing its breadth. They do not contain the whole truth, but they are what we have."--Jacket.
James Dickey: The Selected Poems is the first book to collect James Dickey's very best poems. Like many visionary poets of the ecstatic imagination, Dickey experimented in a wide variety of literary styles. This volume brings together the finest work from each of the periods in Dickey's extremely controversial career. For over three decades, until his death in 1997, Dickey was one of the nation's most important poets; these are the poems that brought him a popular readership and critical acclaim.
The second volume of the letters and life of James Dickey. This volume chronicles Dickey's career from the publication of Deliverance through his poetic experimentation in The Eye Beaters, Blood, Victory, Madness, Buckhead and Mercy and Puella. Includes correspondence with Saul Bellow, Arthur Schlesinger, and Robert Penn Warren"--Provided by publisher.
Classic poems from a famous American poet This volume represents, under one cover, the major work of the man whom critics and readers have designated the authentic poet of his American generation. For this collection, James Dickey has selected from his four published books all those poems that reflect his truest interests and his growth as an artist. He has added more than a score of new poems—in effect, a new book in themselves—that have not previously been published in volume form. Specifically, Poems 1957-1967 contains 15 of the 24 poems that were included in his first book, Into the Stone (1960); 25 of the 36 that made up Drowning With Others (1962); 22 of the 24 in Helmets (1964); the entire 22 in the National Book Award winner Buckdancer's Choice (1965); and, under the titles Sermon and Falling, the exciting new poems mentioned above. Seldom can the word "great" be used of the work of a contemporary in any art. But surely it applies to the poems of James Dickey.
“You're hooked, you feel every cut, grope up every cliff, swallow water with every spill of the canoe, sweat with every draw of the bowstring. Wholly absorbing [and] dramatic.”—Harper's Magazine The setting is the Georgia wilderness, where the states most remote white-water river awaits. In the thundering froth of that river, in its echoing stone canyons, four men on a canoe trip discover a freedom and exhilaration beyond compare. And then, in a moment of horror, the adventure turns into a struggle for survival as one man becomes a human hunter who is offered his own harrowing deliverance. Praise for Deliverance “Once read, never forgotten.”—Newport News Daily Press “A tour de force . . . How a man acts when shot by an arrow, what it feels like to scale a cliff or to capsize, the ironic psychology of fear: these things are conveyed with remarkable descriptive writing.”—The New Republic “Freshly and intensely alive . . . with questions that haunt modern urban man.”—Southern Review “A fine and honest book that hits the reader's mind with the sting of a baseball just caught in the hand.”—The Nation “[James Dickey's] language has descriptive power not often matched in contemporary American writing.”—Time “A harrowing trip few readers will forget.”—Asheville Citizen-Times "A novel that will curl your toes . . . Dickey's canoe rides to the limits of dramatic tension."—New York Times Book Review "A brilliant and breathtaking adventure."—The New Yorker
The world of James Dickey is founded in great and basic realities - the human ties of family and history, the world of nonhuman nature, the inhuman world of war. He sees these things, on their surfaces, as all men see them. But to that general view he adds the special quality of dream, of a constant play back and forth between what is easily evident and the half-glimpsed revelation that lies masked beneath it. Whether it is a hound running foxes at night, or the harlots of Pompeii fixed in crude paint on the walls of their chambers, or the memory of dead kings brooding over the cliffs of Dover, all that he senses is given a fresh interpretation and a special meaning that are at once deeply private and broadly universal. To read Mr. Dickey's poems is a rewarding experience indeed. --Wesleyan University Press.
In Self-Interviews, James Dickey speaks thoughtfully and with candor of his life as a poet. He recalls how poetry came to be his career, tracing its growing importance in his life from his youth in Georgia through his years overseas with the Air Force, as a student at Vanderbilt, as a teacher, and as a successful advertising executive. He also tells of how he reworked the life around him into poetry, of the fleeting impressions and lingering thoughts that were the seeds of some of his finest poems, including “Cherrylog Road,” “The Lifeguard,” “The Fiend,” and “Falling.” Following only a rough outline, Dickey recorded these spontaneous monologues in June, 1968, not long after the publication of his Poems, 1957–1967, which collected the work from his first five books. These musings, then, date from what was in many ways a natural vantage point on his artistic development, a moment ripe for recollection and analysis. Dickey uses the occasion not only to look back on his career but also to consider his preferences and goals as a poet. “I would like to be able to write a poetry,” he reveals, “that would have something for every level of mind, something that would be accessible to a child and would also give college professors and professional critics something, maybe something they haven’t had much of recently, or indeed ever.” This book is not so much the autobiography of a poet as it is the biography of a poet’s work. Unique and revealing, Self-Interviews is an intimate profile of a decade in the art of one of America’s finest poets.
Winner of the National Book Award (1966) Winner of the Melville Cane Award (1966) Whoever looks to a new book by James Dickeys for further work in an established mode, or for mere novelty, is going to be disappointed. But those who seek instead a true widening of the horizons of meaning, coupled with a sure-handed mastery of the craft of poetry, will find this latest collection satisfying indeed. Here is a man who matches superb gifts with a truly subtle imagination, into whose depths he is courageously traveling—pioneering—in exploratory penetrations into areas of life that are too often evaded or denied. "The Firebombing," "Slave Quarters," "The Fiend"—these poems, with the others that comprise the present volume, show a mature and original poet at his finest.
From the author of D̀eliverance' a new novel of a man facing incredible odds. In the last months of World War II, and American gunner is forced to parachute into the burning city of Tokyo on the day before the great firebomb raid.
The second volume of the letters and life of James Dickey. This volume chronicles Dickey's career from the publication of Deliverance through his poetic experimentation in The Eye Beaters, Blood, Victory, Madness, Buckhead and Mercy and Puella. Includes correspondence with Saul Bellow, Arthur Schlesinger, and Robert Penn Warren"--Provided by publisher.
James Dickey: The Selected Poems is the first book to collect James Dickey's very best poems. Like many visionary poets of the ecstatic imagination, Dickey experimented in a wide variety of literary styles. This volume brings together the finest work from each of the periods in Dickey's extremely controversial career. For over three decades, until his death in 1997, Dickey was one of the nation's most important poets; these are the poems that brought him a popular readership and critical acclaim.
James Dickey's creativity as a poet is well known. But there have been few opportunities for his readers to become familiar with the full dimensions of his mind, with the thoughts and perceptions that lie just outside the matter of his poetry. Sorties brings together the contents of a journal kept by Dickey for several years and six discerning essays on poetry and the creative process. The journal follows Dickey's mind as it alights on a wide array of topics, ranging from the work of his colleagues to the plotting of a new novel, from the onset of old age to pride over accomplishments in archery and guitar playing. Dickey can be blunt in his opinions, as when he states that "a second-rate writer like Norman Mailer will sit around wondering what on earth it is that Hemingway had that Mailer might possibly be able to get." But the journal also reveals a great capacity for sympathy, as when Dickey tells of his father's long illness, and a revealing candor--"I am Lewis," he writes of his novel Deliverance, "every word is true." The journal is at its most revealing, however, when Dickey discusses the craft of poetry. "It is good for a poet to remember," he writes, "that the human mind, though in some ways very complicated, is in some others very simple." This awareness that poetry must understand the simplicities of human existence is a recurring concern for Dickey, and he writes with disdain of the "brilliant things" that too often clog poetry, the stale self-absorption that warps the perceptions of many poets. In the essays that make up the second part of the book, Dickey also focuses on poetry, exploring the relation of the poet to his works, the promise of a younger generation of poets, and the place of Theodore Roethke as the greatest American poet. Wide-ranging and acute, Sorties opens up for the reader the discriminating mind that lies behind some of the most accomplished and memorable poetry written in America in this century.
The author reveals the paradise of the Southern mountains through the monologue of an old mountain man; colorful photographs display the beauty and wonder of this remote area
The title of the book "The Innermost Circle of Hell" demonstrably tells a brutal story about the exploitation of young black juveniles in the Baltimore, Maryland, City Penitentiary during the early and late sixties, Known as "Castle Grey Skull
The most thorough and ambitious study yet made of this significant and turbulent period in Kentucky's history. Over 70 pictures and maps recreate the atmosphere of the times.
The Dirty South examines the shifting significances of the South as a constructed, fantasized region in the American psyche, particularly its frequent association with tropes of dirt that emphasize soil, garbage, trash, grit, litter, mud, swamp water, slime, and pollution. Beginning with iconic works from the 1970s such as Deliverance and The Texas Chainsaw Massacre, James A. Crank traces the image of a “dirty” South into the twenty-first century to explore the social, political, and psychological effects of the region’s hold on the imaginations of southerners and nonsoutherners alike. With a focus on media forms through which southern identity gets articulated and questioned—including horror movies, Swamp Thing comics, and popular music by artists such as Waylon Jennings and OutKast—The Dirty South probes the sustained fascination with southern dirtiness while reflecting on its causes and consequences since the end of the civil rights era. Highlighting the period from 1970 to 2020, during which the South began to represent several new possible identities for the nation as a whole and for the area itself, Crank considers the ways that southerners have used depictions of dirt to create and police boundaries and to contest those boundaries. Each chapter pairs prominent literary or cultural texts from the 1970s with more contemporary works, such as Jordan Peele’s film Get Out, which recycle similar investments or, critically, challenge the inherent whiteness of the earlier images. By historicizing fantasies of the region and connecting them to the first decades of the twenty-first century, The Dirty South reveals that notions about southern dirtiness proliferate not because they lend authenticity or relevancy to the U.S. South, but because they aid so conspicuously in the zombified work of tethering investors (real and imagined) to a graveyard of ideas.
To teach correct Latin and to explain the poets" were the two standard duties of Roman teachers. Not only was a command of literary Latin a prerequisite for political and social advancement, but a sense of Latin's history and importance contributed to the Romans' understanding of their own cultural identity. Put plainly, philology-the study of language and texts-was important at Rome. Critics, Compilers, and Commentators is the first comprehensive introduction to the history, forms, and texts of Roman philology. James Zetzel traces the changing role and status of Latin as revealed in the ways it was explained and taught by the Romans themselves. In addition, he provides a descriptive bibliography of hundreds of scholarly texts from antiquity, listing editions, translations, and secondary literature. Recovering a neglected but crucial area of Roman intellectual life, this book will be an essential resource for students of Roman literature and intellectual history, medievalists, and historians of education and language science.
(From the Preface) “The author has attempted to show how the original five counties in 1812 were divided and sub-divided until, by 1862, 114 counties had emerged. Reynolds County at one time, at least in part, has been a portion of seven counties; Ste. Genevieve, Cape Girardeau, Washington, Wayne, Madison, Ripley, and Shannon.”
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