Across the Creek, a collection of affectionate reminiscences, adds to the common lore about William Faulkner and his community. Jim Faulkner recounts stories abounding in folklore, humor, family history, and fictionalized history, and these offer an insider's view of the Faulkner family's life in the small southern town of Oxford, Mississippi. A sense of adventure and misadventure colors these personal accounts. “Aunt Tee and Her Two Monuments” explains the mystery of why the town has two Confederate statues. “Roasting Black Buster” tells how Faulkner's hired man mistakenly killed the prize bull for a family barbecue. “The Picture of John and Brother Will” recounts how Phil Mullen happened to take his well-known snapshot of the famous Faulkner brother novelists—John and William—one of the few pictures ever taken of them together. Here in this entertaining book are more family stories about a major American author whose life, family, and writing have generated continuing appeal and ever-renewed appreciation.
In the 1970s and 1980s, Sally Wolff and Floyd C. Watkins, both of Emory University, took students of southern literature to Lafayette County, Mississippi, to explore the region where William Faulkner lived. They visited Faulkner’s home, Rowan Oak, in Oxford, Mississippi; trekked around the countryside; and met people who were the prototypes for some of his characters. During these excursions, they discovered firsthand how profoundly Faulkner’s family, community, and region imprinted themselves on his imagination and then both shaped and enriched his work. Their primary guide was Jimmy Faulkner, who was once described by his famous uncle as “the only person who likes me for what I am.” Like his uncle, Jimmy is a born storyteller, and his recollections provide profound as well as intimate details about Faulkner as author, father, member of the unusual Faulkner clan, and resident of the model for what may be the most famous county in American literature. In these interviews, and in the forty-three splendid black-and-white photographs that accompany them, we move through Faulkner’s home territory and encounter the sources of his sense of place and its past: antebellum Rowan Oak, with its scuppernong vines and outside kitchen; old plantation homes and dogtrot houses; narrow one-lane bridges and creeks with Indian names; country churches and cemeteries. Jimmy’s comments often link specific sites with particular episodes or settings in Faulkner’s works, and his humorous stories sometimes mingle fact with fiction. Two colorful local personalities who knew Faulkner—Pearle Galloway, proprietor of a general store near Oxford for over thirty years, and Motee Daniel, owner of various enterprises, including a roadhouse, a general store, and a bootlegging operation—also tell tales about him. Galloway and Daniel provide, in turn, fascinating glimpses of the kind of people who intrigued Faulkner and about whom he wrote. While his work was most certainly influenced by his surroundings, Faulkner, through his stories and novels, likewise transformed the memories, perceptions, and interpretations of his family, his community, and his readers. Talking About William Faulkner deepens our knowledge of Faulkner’s everyday life and our understanding of the world in which he lived and of which he wrote.
This edited collection explores the political dimensions of cultural memory work in its varied forms of representation, from public monuments to literary texts. Addressing the different ways that cultural texts represent the past in the present, the collection demonstrates that cultural memory is something actively made: the site of a struggle over meanings that can serve a range of political and cultural purposes. The collection offers essays that discuss the politics of cultural memory both in theory and in practice, and features work by some of the leading scholars in the field including Susannah Radstone, Graham Dawson, Felicity Collins and Therese Davis. Contributors explore the ways in which memory comes to be articulated through particular cultural practices, from film and photography to literature and public monuments, all of which have their own codes and conventions, modes of address and audiences. As such this volume brings together scholars working in a range of disciplines (literary studies, history, art history, film studies) and in so doing seeks to establish a dialogue between different disciplines and methodologies and to explore cultural memory work in a range of different intellectual fields, cultural forms and political and historical contexts, for instance, the Holocaust, Northern Ireland, Australia, Palestine, and the former Soviet Bloc. The collection will be of interest to students, researchers and scholars working in the area of cultural memory studies, for whom it will represent an invaluable collection of current work in the field. It will also interest scholars working in the particular areas with which it engages, for instance, postcolonial studies, Holocaust studies, Eastern European Studies, Irish Studies, Art History and English Studies.
A group of glamorous English socialites spend the summer of 1930 holidaying on the Italian Riviera where the poet Shelley died in a sailing accident in 1822. To pass the time, they tell amusing stories, much as Shelley, Byron and their friends had done a century earlier. For their theme they choose the death of Shelley and the stories progress towards a solution to the "murder mystery". Yet is that truly what the stories are about? Or, despite their witty surface, are they a code for dark and dangerous secrets hidden behind an urbane façade? Guy Parrot, a naive young doctor, finds himself falling in love with the beautiful and enigmatic Julia, the truth of whose past flickers between the lines of the stories, tantalising both Guy and the Reader. Guy discovers that truth, and its terrible reality leads to two murders and the destruction of his happiness and sanity. In 1945, in the aftermath of war, Guy returns to Italy with the army and is given an opportunity to re-examine the events of fifteen years before. This time will he understand what happened and finally redeem himself? The Strange Death of a Romantic offers the Reader romance, comedy, suspense, and an intriguing solution to a historical Whodunit - but without the inconvenience of a crime.
Recovering from a drug addiction is a tremendous feat. Overcoming a drug habit and starting an innovative dependency program for prisoners within the San Mateo County, California, judicial system is nothing short of miraculous. Shirley LaMarr has accomplished these things and more in her sixty-seven years of life. The cofounder of the Choices program, as well as the founder of Mz. Shirlez Transitional Housing Centre, she might appear to be just another pleasant woman on her way to a church social, but more than likely, she's on her way to jail to help the inmates. Not Without Scars: The Story of Shirley LaMarr is the remarkable true story of one woman's journey from a life of drug addiction, living on the streets, crime, and prostitution to establishing a life-changing drug program that helps addicts become contributing members of society. In the vein of Tweak: Growing Up on Methamphetamines by Nic Sheff, Not Without Scars goes far beyond the usual redemption story. The details of her early life are nothing short of shocking. By all rights she should be dead. But the profoundly uplifting and inspirational second half of her life is marked by an intense mission to help others.
Selected as a New York Times Notable Book of the Year, Off to the Side is the tale of one of America's most beloved writers. Jim Harrison traces his upbringing in Michigan amid the austerities of the Depression and the Second World War, and the seemingly greater austerities of his starchy Swedish forebears. He chronicles his coming-of-age, from a boy drunk with books to a young man making his way among fellow writers he deeply admires -- including Peter Matthiessen, Robert Lowell, W.H. Auden, Truman Capote, Tennessee Williams, and Allen Ginsberg. Harrison discusses forthrightly the life-changing experience of becoming a father, and the minor cognitive dissonance that ensued when this boy from the "heartland" somehow ended up a highly paid Hollywood screenwriter. He gives free rein to his "seven obsessions" -- alcohol, food, stripping, hunting and fishing (and the dogs who have accompanied him in both), religion, the road, and our place in the natural world -- which he elucidates with earthy wisdom and an elegant sense of connectedness. Off to the Side is a work of great beauty and importance, a triumphant achievement that captures the writing life and brings all of us clues for living.
The first-ever collection of interviews with this well-known, prolific writer whose books include twenty-two volumes of poetry, fiction, and nonfiction published over a period of thirty-six years
After reading the latest biography of baseball legend Mickey Mantle, the authors hero, he was stunned to realize that his own life had, in his later years turned out much like Hall of Famer Mantle; a life of deep regret, guilt, depression and alcoholism. Robinson immediately recognized a series of similarities in their childhood experiences, especially with their respective relationships with their fathers. Robinson decided to journey to Commerce, Oklahoma on a kind of pilgrimage to the childhood home of the baseball legend and see if he could find some insights about his own life. The journey opened up painful questions about his relationship with his football coach father and led him to further investigation of the father/son issues of some of his favorite authors such as Hemingway, Faulkner, McMurtry, Salinger and James Joyce. The pilgrimage ended in a visit to the grave of his father and served to reset his life back on course. He has written with pain, humor, honesty and insight about his "Salvation Through Mickey Mantle.
Between 1967 and 1974, Jim Henson and his longtime writing partner Jerry Juhl developed three drafts of a screenplay for a feature-length film entitled TALE OF SAND. It was durning the development of the later drafts of the screenplay that Jim Henson became involved in the production of SESAME STREET and THE MUPPET SHOW, and left behind the experimental filmmaking of his youth to concentrate on the creations that would in time make him a household name. TALE OF SAND remained in the vaults of The Jim Henson Company as the only feature-length screenplay written by Henson that he was never able to produce during his lifetime. Stunningly illustrated and adapted by acclaimed artist Ramon K. Perez (WOLVERINE AND THE X-MEN), the most critically acclaimed graphic novel of 2012-- winner of 3 Eisner Awards and 2 Harvey Awards including Best Graphic Album-- finally makes its digital debut on comiXology.
Across the Creek, a collection of affectionate reminiscences, adds to the common lore about William Faulkner and his community. Jim Faulkner recounts stories abounding in folklore, humor, family history, and fictionalized history, and these offer an insider's view of the Faulkner family's life in the small southern town of Oxford, Mississippi. A sense of adventure and misadventure colors these personal accounts. “Aunt Tee and Her Two Monuments” explains the mystery of why the town has two Confederate statues. “Roasting Black Buster” tells how Faulkner's hired man mistakenly killed the prize bull for a family barbecue. “The Picture of John and Brother Will” recounts how Phil Mullen happened to take his well-known snapshot of the famous Faulkner brother novelists—John and William—one of the few pictures ever taken of them together. Here in this entertaining book are more family stories about a major American author whose life, family, and writing have generated continuing appeal and ever-renewed appreciation.
What a great pleasure it always is to watch Jim Grimsley's estimable sensibility at work observing and deconstructing the foibles and follies of modern culture. In Forgiveness he exposes, with devastating wit, our cult of body and of fame. This is a brilliant and important novel." —Robert Olen Butler "The Lifetime movie of my divorce and crime spree will be entitled Breakdown at Midnight.... Sympathy for my character will be established by my loss of a wildly respectable, lucrative job with Arthur Andersen, a company which turned out to be as crooked as its customers. I will be another orphan of the American Dream gone sour, and eventually I will give in to the so-called dark side of my nature when I strangle Carmine with the strap of her Prada bag, or stab her to death with a survivalist-quality knife, or bludgeon her skull to a bloody pulp with a classic Tiffany l& this part of the script will have to wait for the real event to unfold since, though I've decided that tomorrow will be the day I kill her, I have yet to choose how." —Charley Stranger Turning headline news into biting social satire, Jim Grimsley exposes the amorality of materialistic America in Forgiveness, a blackly comic tale of a bankrupt accounting executive who dreams of achieving stardom in the only way a pathetic failure can—by murdering his wife. As Charley Stranger imagines the crime, he fantasizes wildly unlikely encounters with celebrities—sharing marital woes with Nicole Kidman over a latte at Starbucks, being interviewed by Barbara Walters—while in real life his wife Carmine incessantly ridicules his inability to perform either in bed or in the marketplace. As Forgiveness veers to its shocking conclusion, it strips bare the corruption of the American Dream—the moral bankruptcy of corporate and political institutions, the hollowness of living in a media-saturated world, the delusion of buying love with luxury goods.
Jim Smith might be one of the few people that tried extending his tour in Vietnam and was actually forced to leave. As a correspondent for Stars and Stripes, the Defense Departments daily newspaper, he saw every major city in Vietnam from the Delta to the Demilitarized Zone from 1971 to 1972. Drawing on dozens of his stories that were published and dozens that were not, he looks back at the war through the eyes of a 23-year-old who was technically a specialist fourth class in the Army but who acted like a civilian, sporting long hair and wearing safari suits with no rank insignia. He laughed at Bob Hopes jokes, took cover during rocket attacks, pulled guard duty at night in the jungle, got in trouble with the brass, and was caught up in the adrenaline rush of war. Whether it was observing training of South Vietnamese troops by U.S. advisers, watching massive U.S. firepower take out enemy targets or reporting on other efforts to repel the North Vietnamese Easter Offensive, he was there to witness the events. With the keen observations of a young combat reporter, he reveals many acts of bravery and courage in Heroes to the End. Jim Smith, a graduate of Hofstra University, spent 1971-72 in Vietnam as a clerk and Army correspondent for the Stars and Stripes. He was a Newsday reporter and editor from 1966 to 2014, and is a veterans advocate and board member of United Veterans Beacon House. He lives in Williston Park, Long Island.
The first-ever collection of interviews with this well-known, prolific writer whose books include twenty-two volumes of poetry, fiction, and nonfiction published over a period of thirty-six years
Instructive and enlightening. Fun, too. D30 is a workout book. In addition to dozens of readily applicable tips, tricks and informational tidbits, D30 contains thirty exercises designed to develop and strengthen the creative powers of graphic designers, artists and photographers in a variety of intriguing and fun ways. What will you need to begin? Not much. Most of the book's step-by-step projects call for setting aside an hour or two, rolling up your sleeves and grabbing art supplies that are probably already stashed somewhere in your home or studio--things like pens, drawing and watercolor paper, India ink, paint, scissors and glue. Digital cameras and computers are also employed for several of the exercises but--and this should be welcome news to those readers who spend their days looking at computer monitors--the majority of the book's activities make use of traditional media to illuminate creative techniques and visual strategies that can be applied to media of all sorts. Thumb through the book (or look at the samples posted on JimKrauseDesign.com) and see for yourself!
Bring on the Books for Everybody is an engaging assessment of the robust popular literary culture that has developed in the United States during the past two decades. Jim Collins describes how a once solitary and print-based experience has become an exuberantly social activity, enjoyed as much on the screen as on the page. Fueled by Oprah’s Book Club, Miramax film adaptations, superstore bookshops, and new technologies such as the Kindle digital reader, literary fiction has been transformed into best-selling, high-concept entertainment. Collins highlights the infrastructural and cultural changes that have given rise to a flourishing reading public at a time when the future of the book has been called into question. Book reading, he claims, has not become obsolete; it has become integrated into popular visual media. Collins explores how digital technologies and the convergence of literary, visual, and consumer cultures have changed what counts as a “literary experience” in phenomena ranging from lush film adaptations such as The English Patient and Shakespeare in Love to the customer communities at Amazon. Central to Collins’s analysis and, he argues, to contemporary literary culture, is the notion that refined taste is now easily acquired; it is just a matter of knowing where to access it and whose advice to trust. Using recent novels, he shows that the redefined literary landscape has affected not just how books are being read, but also what sort of novels are being written for these passionate readers. Collins connects literary bestsellers from The Jane Austen Book Club and Literacy and Longing in L.A. to Saturday and The Line of Beauty, highlighting their depictions of fictional worlds filled with avid readers and their equations of reading with cultivated consumer taste.
Stained glass reached the height of its popularity in the Victorian period. But how did it become so popular and who was involved in this remarkable revival? The enthusiasm for these often exquisite pieces of artwork spread from specialist groups of antiquarians and architects to a much wider section of the Victorian public. By looking at stained glass from the perspective of both glass-painter and patron, and by considering how stained glass was priced, bought and sold, this enlightening study traces the emergence of the market for stained glass in Victorian England. Thus it contains new insights into the Gothic Revival and the relationship between architecture and the decorative arts. Beautifully illustrated with colour plates and black and white illustrations, this book will be valuable to those interested in stained glass and the wider world of Victorian art.
Bondspeople who fled from slavery during and after the Civil War did not expect that their flight toward freedom would lead to sickness, disease, suffering, and death. But the war produced the largest biological crisis of the nineteenth century, and as historian Jim Downs reveals in this groundbreaking volume, it had deadly consequences for hundreds of thousands of freed people. In Sick from Freedom, Downs recovers the untold story of one of the bitterest ironies in American history--that the emancipation of the slaves, seen as one of the great turning points in U.S. history, had devastating consequences for innumerable freed people. Drawing on massive new research into the records of the Medical Division of the Freedmen's Bureau-a nascent national health system that cared for more than one million freed slaves-he shows how the collapse of the plantation economy released a plague of lethal diseases. With emancipation, African Americans seized the chance to move, migrating as never before. But in their journey to freedom, they also encountered yellow fever, smallpox, cholera, dysentery, malnutrition, and exposure. To address this crisis, the Medical Division hired more than 120 physicians, establishing some forty underfinanced and understaffed hospitals scattered throughout the South, largely in response to medical emergencies. Downs shows that the goal of the Medical Division was to promote a healthy workforce, an aim which often excluded a wide range of freedpeople, including women, the elderly, the physically disabled, and children. Downs concludes by tracing how the Reconstruction policy was then implemented in the American West, where it was disastrously applied to Native Americans. The widespread medical calamity sparked by emancipation is an overlooked episode of the Civil War and its aftermath, poignantly revealed in Sick from Freedom.
The Gilt-Edged Market is specifically aimed at finance professionals and investors who need to understand the inner working of the United Kingdom gilt market. There is detailed coverage of the different gilt instruments, as well as a look at the structures, institutions and practices of the market itself.Topics include:* Bond basics* Conventional gilts* Index-linked gilts* Gilt strips* The gilt repo market* The gilt bond future basis* Yield spread trading using giltsThere are also personal reminiscenes that illustrate the great changes that have occurred in this market since Big Bang, as well as an exposition on the art of trading.The Gilt-Edged Market is ideal reading for traders, salespersons, fund managers, private investors and other professionals involved to any extent in the UK gilt market. * The latest research on index-linked gilts, gilt markets and sterling debt markets presented in an enthusiastic, readable style* Written by gilt-edged market makers and dealers to ensure realistic, practical coverage as well as a clear explanation of the theory, so readers gain from years' experience* Foreword written by Mike Williams, CEO of the Debt Management Office
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