This is a selection of wartime letters of Dick and Tally Simpson of South Carolina from their service in the Civil War on the Confederate side - Tally was killed and Dick survived the war.
In April 1861, Dick and Tally Simpson, sons of South Carolina Congressman Richard F. Simpson, enlisted in Company A of the Third South Carolina Volunteers of the Confederate army. Their letters home--published here for the first time--read like a historical novel, complete with plot, romance, character, suspense, and tragedy. In their last year of college when the war broke out, Dick and Tally were hastily handed their diplomas so they could volunteer for military duty. Dick was twenty; Tally was twenty-two. Well educated, intelligent, and thoughtful young men, Dick and Tally cared deeply for their country, their family, and their comrades-in-arms and wrote frequently to their loved ones in Pendleton, South Carolina, offering firsthand accounts of dramatic events from the battle of First Manassas in July 1861 to the battle of Chickamauga in September 1863. Their letters provide a picture of war as it was actually experienced at the time, not as it was remembered some twenty or thirty years later. It is a picture that neither glorifies war nor condemns it, but simply "tells it like it is." Written to a number of different people, the boys' letters home dealt with a number of different subjects. Letters to "Pa" went into great detail about military matters in Lee's Army of Northern Virginia--troop movements, casualties, and how well particular units had fought; letters to "Ma" and sisters Anna and Mary were about camp life and family friends in the army and usually included requests for much-needed food and clothing; letters to Aunt Caroline and her daughter Carrie usually concerned affairs of the heart, for Aunt Caroline continued to be Dick and Tally's trusted confidante, even when they were "far, far from home." The value of these letters lies not so much in the detailed information they provide as in the overall picture they convey--a picture of how one Southern family, for better or for worse, at home and at the front--coped with the experience of war. These are not wartime reminiscences, but wartime letters, written from the camp, the battlefield, the hospital bed, the picket line--wherever the boys happened to be when they found time to write home. It is a poignant picture of war as it was actually experienced in the South as the Civil War unfolded.
A history and examination of dystopia and angst in popular culture that speaks to our current climate of dread. At the dawn of the 20th century, a wide-ranging utopianism dominated popular and intellectual cultures throughout Europe and America. However, in the aftermathof the World Wars, with such canonical examples as Brave New World and Nineteen-Eighty-Four, dystopia emerged as a dominant genre, in literature and in social thought. The continuing presence and eventual dominance of dystopian themes in popular culture-e.g., dismal authoritarian future states, sinister global conspiracies, post-apocalyptic landscapes, a proliferation of horrific monsters, and end-of-the-world fantasies-have confirmed the degree to which the 21st is also a dystopian century. Drawing on literature as varied as H.G. Wells's The Time Machine, Neil Gaiman's American Gods, and Suzanne Collins's The Hunger Games, and on TV and film such as The Walking Dead, Black Mirror, and The Last of Us, Robert T. Tally Jr. explores the landscape of angst created by the monstrous accumulation of dystopian material. The Fiction of Dread provides an innovative reading of contemporary culture and offers an alternative vision for critical theory and practice at a moment when, as has been famously observed, it is easier to imagine the end of the world than the end of capitalism.
In October 2017, actress Alyssa Milano sparked the #MeToo movement. The ensuing protests quickly encompassed far more than Harvey Weinstein and the entertainment industry. They expressed women's outrage at male workplace behavior in every sector and social class and even helped elect a new generation of women leaders in 2018. But what has been the effect of #MeToo in the entertainment industry itself? This book traces the movement's influence on the stories being told, on changing representations of women's lives and bodies, and on the slow changes among the producers who shape the stories. Analyzing a wide set of TV and film genres--including crime, legal and medical dramas, comedies, horror and reality programming--this book covers the complex ways that media respond to social movements: They sometimes give voice to brand-new or previously silenced stories, but just as often make facile references that can blunt the potential for change, or even fuel cultural backlash.
Since its publication in 1992, Jazz, probably Toni Morrison's most difficult novel to date, has illicited a wide array of critical response. Many of these analyses, while both thoughtful and thought-provoking, have provided only partial or inherently inconclusive interpretations. The title, and certain of the author's own pronouncements, have led other critics to focus on the music itself, both as medium and aesthetic support for the narration. Choosing an entirely different approach for The Story of Jazz, Justine Tally further develops her hypothesis, first elaborated in her study of Paradise, that the Morrison trilogy is undergirded by the relationship of history, memory and story, and discusses "jazz" not as the music, but as a metaphor for language and storytelling. Taking her cue from the author's epigraph for the novel, she discusses the relevance of storytelling to contemporary critics in many different fields, explains Morrison's choice of the hard-boiled detective genre as a ghost-text for her novel, and guides the reader through the intricacies of Bakhtinian theory in order to elucidate and ground her interpretation of this important text, finally entering into a chapter-by-chapter analysis of the novel which leads to a surprising conclusion.
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