Bücher veröffentlicht von Clemson University Press

The essays in this book variously addressed the "granite" of close textual reading and the "rainbow" of theoretical approaches to Woolf's writings. Several more flexible versions of editing emerge in the papers that discuss adaptations of Woolf to film, theatre, and music. Brenda Silver's contribution in memory of Julia Briggs opens the volume, and James Haule's concludes it.

Founded in 1968, The South Carolina Review is the state's flagship literary journal.

Skip Eisiminger is an academic who still looks forward to Monday mornings, even after thirty-six years of teaching. The collection opens with a secular-humanist essay and closes with a piece that offers speculations about immorality. In between is a wildflower garden of sacred, profane, and always witty efflorescences.

The International Yeats Society is an academic organization that links national and other Yeats societies around the world. Conceived on the 150th anniversary of W. B. Yeats's birth, International Yeats Studies brings together scholarship from Europe, the Americas, Asia, and Africa, and addresses Yeats's place in world literature. This volume reprints essays from vol. 2, no. 1 and vol. 2, no. 2.

The International Yeats Society is an academic organization that links national and other Yeats societies around the world. Conceived on the 150th anniversary of W. B. Yeats's birth, International Yeats Studies brings together scholarship from Europe, the Americas, Asia, and Africa, and addresses Yeats's place in world literature. This volume reprints essays from vol. 1, no. 1 and vol. 1, no. 2.

The theme "Voyages Out, Voyages Home," and the idea of voyaging-which can be interpreted in many ways-permeates this collection of essays on Virginia Woolf. An international group of scholars explore topics ranging from Woolf's interest in travel and cross-cultural encounters to her imaginative voyages between texts and genres and even to the subsequent voyages her texts have made into the work of others.

This is a book about a man who may have done more to give the parks their present character than anyone in their history.. . .As Sherwood confesses, there is so much in the large Hartzog arsenal of assets that it is difficult to identify a very few attributes that made him special. However, Sherwood sees Hartzog's desire for further learning and growth as possibly his single greatest asset. While this zest for continued improvement was an important personal incentive, the crucial point is that Hartzog saw it as the means by which he could realize the full potential of his endeavors within the park service.-Lawrence R. Allen, Dean, College of Health, Education and Human Development, Clemson University

This is poetry that goes for the jugular. Allen's poetry is marked by its potent, dynamic syntax, and also by his storyteller's sensibility. Skillfully crafted in their shifting perspectives, there is a great verve and sense of surprise in his lines. He has a fantastic ability to swoop into vivid detail while keeping the poem sweeping onwards. This is tough, sometimes brutal poetry, but still singing, a rich and rough music, just right for our times.-Alan Gillis, poet & editor of the Edinburgh Review

Forget Duck Dynasty and True Detective. Read Bayou Coeur and enter a world as different from the homogeneity of American life as étouffée is different from Campbell's soup. Gray leads us through this unique culture like a skilled cajun accordionist laying down his chords and pursuing a melodic line that evokes nostalgia and mystery and resolves into surprising harmonies. -Bill Dowie, author of critical biographies of Peter Matthiessen and James Salter in the Twayne U.S. Authors Series

Travelers' Rest is a family epic, but it is also an American epic, carrying a message that can also be found in Ben Robertson's other, more famous works, Red Hills and Cotton and I Saw England (his first-hand account of the Battle of Britain). Thoughts of the Republic's founding and American values were very much on Robertson's mind as a journalist covering Washington and Europe as he anticipated the coming of the Second World War.

This book presents the graves of writers from the American South. The selection is based on the authors' popular or critical reputations and the appeal and accessibility of their grave sites. Some may dispute whether these subjects were sufficiently Southern, and whether they were truly writers, but this is certain: they're all dead. The pictures of their graves, presented chronologically, illustrate Southern literary history, and this book memorializes the artists, some famous and some obscure.

On the evening of July 8, 2015, the attendees of the twenty-sixth biannual Ezra Pound International Conference, held in Dorf Tirol, Italy, gathered inside a small library just up the hill from the castle where Pound's daughter, Mary de Rachewiltz, lives with her son and his family. As evening turned to night, conference attendees were treated to a reading featuring poems written and performed by poets influenced by the life and work of Ezra Pound. This volume offers a selection of those poems. Poets include David Cappella, Patrizia de Rachewiltz, Justin Kishbaugh, David Moody, Stephen Romer, J. R. Forman, Eloisa Bressan, Mary de Rachewiltz, Mary Maxwell, Biljana D. Obradovic, Ron Smith, Sean Mark, Matthew Porto, and John Gery

This collection of poetry takes female lives and voices as its point of focus and its point of departure. Each poem looks to a single woman--historical, mythological, or fictional--and paints a portrait in words.

Since 1968, The South Carolina Review (SCR) has published fiction, poetry, interviews, unpublished letters and manuscripts, essays, and reviews from literary giants such as Joyce Carol Oates and Kurt Vonnegut as well as eminent critics such as Cleanth Brooks and Marjorie Perloff. SCR celebrates its 50th anniversary in 2018. This special themed issue focuses on the Spectral South.

Kathryn Kirkpatrick's tour de force, Her Small Hands Were Not Beautiful, proves once and for all that the scholar's detective work can serve the poet's task. With eloquence and intelligence, Kirkpatrick has handcrafted a collage of words and phrases actually spoken by the friends and relations of the magnificent and mysterious Maud Gonne, muse of W. B. Yeats. Anyone fascinated by the Irish past will be glued to the remarkable title poem of this, Kirkpatrick's sixth book, as well as by the lyrical tales that precede it, amusingly titled "Yeats Plays Golf" and "Maeve Married." Whether mythic or human, figures are made palpable in Kirkpatrick's magic, elegant hands. --MOLLY PEACOCK

Octavus Roy Cohen (June 26, 1891-January 6, 1959) was born in Charleston, South Carolina, the son of Octavus Cohen, a lawyer and newspaper editor, and Rebecca Ottolengui. The Cohens were an old and distinguished Jewish family, very much a part of Charleston's literary society. While Epic Peters, Pullman Porter covers well the black porter of the 1920s, Cohen conveys an intimate knowledge of passenger service on the busy main line of the Southern Railway between Birmingham, Atlanta, Charlotte, Washington and New York City. Cohen's work is the next-best-thing to having an oral history of a Pullman porter during the hey-day of intercity train travel, a time when the Pullman Company was one of the largest employers of African-Americans. Epic Peters wonderfully encapsulates virtually everything that was once the life of a Pullman porter.-Alan Grubb & H. Roger Grant

"The most beautiful irony of Ronald Moran's…The Blurring of Time¿is the intense clarity with which the poet reveals his particular yet unsentimental journey through time. The poet weaves the sensory details of real and imaginary events of his life into an elegiac tapestry, which becomes a holy shroud for the embodied spirit of a man who is facing the narrow end of a well-shared life."--Karen Luddy

The great poems are poems of retrieval or thanks or both, and Ronald Moran's plain-spoken, affecting lyrics are squarely in this last category. He searches for and finds the people, now gone, who made his life what it is: his parents, the girls he dated, his beloved wife Jane. In doing so, this grateful, gifted poet teaches us how to burrow into and recognize the riches in our own lives. -David Kirby, on Eye of the World

"Another source of pleasure in these poems derives from Moran's facility with language and with complex sentences, in particular.…This technique creates an impressive sense of the interconnectedness of experience without the breathless rush of Whitman, the Beats or other long-lined poets"

John Sexton has everything: wealth, the privileges of British society, and a Curse that kills the men of his family. Hoping to escape his fate, John boards a ship to South Africa, but the sense of imminent death follows him. Then a letter from Australia catches up to John. His grandfather has found the key to finding the Soul of the Beast, an ancient mystery with powers that can break the Curse. His grandfather offers the key to John, but he must come to Australia to receive it. John immediately boards a ship. As he walks down the gangplank in Australia, John becomes the target of an assassin cult. The cult's purpose is to kill John and take the key and the Soul of the Beast for themselves. Assassins pursue John across continents and mountains, and into the hidden and deadly world of the Soul of the Beast.

Though it might not be yet apparent, what the world hungers for-not just the poetry world but all sentient beings-are the rapturous, precise, lyrical revelations in Charles Rafferty's Appetites, a startling collection full of poems that chart desire through an abandoned couch transformed into redeeming ecstasy, that channel the "popcorned and sawdusty air" of the circus tent where folks gather to turn away from themselves, that show us the subversive art of souvenir-taking in the form of a sliver of Picasso's signature smuggled under a fingernail, and that give us a "Prelude" for our time. In the vein of Stephen Dobyns and Denis Johnson, but ever original and even more expertly-crafted, Rafferty is a major American poet. If you don't know his work yet, you owe yourself this chapbook. -Ravi Shankar

Moran uses plain language to great effect, crafting narrative poems that are compelling and self-contained, but when linked together in this collection, create a poignant love story and in a sense, a how-to-manual for living with the hardships of a long illness, surviving the loss of a loved one and coping with the grief and isolation that follows.-Richard Allen Taylor

"Siedlarz's debut collection of poems about her brother's life as a soldier in Afghanistan shimmers like the heat over desert sand where civilians and soldiers alike are caught and often destroyed by powers that cannot be controlled. Set in a terrain "where nothing continues to bloom," poems from the brother's voice give a graphic picture of the gritty day-to-day life of both American and Afghani soldiers fighting an unending war. However, the poems reveal that in this unforgiving land where even "poppies smack their red faces in the breeze," the human spirit refuses to let laughter and celebration get swallowed." -Vivian Shipley, author of When There Is No Shore, winner Connecticut Book Award for Poetry

In many ways, Robert Penn Warren was a model of the writer as social animal. As a precocious sixteen-year-old sophomore, he began attending meetings of Nashville's Fugitive group. Decades before creative writing workshops had become a fixture on university campuses, these gifted amateurs would meet on alternate Saturday nights to exchange drafts of poems they were writing. The critical attention no doubt improved their verse, while the shared sense of community solidified their commitment to the literary life. Even a selective account [such as this] of Warren's most important literary associations during such a long and active life could fill a good size book.

This is a unique and extraordinary collection of poems and narratives which opens new avenues of representation for teaching Holocaust literature. Davi Walders knows so many Holocaust heroes (e.g. Dr. Rita Levi-Monatalcini, Sophie Scholl, Cory Ten Boom, Zivia Lubetkin) so well that she writes persona poems, poems in the voices of the women themselves. I cannot imagine teaching Holocaust literature without "The Silence at Treblinka" or "Lidice Survivor" or any of the invaluable texts she now offers teachers and reader who are willing to open themselves to new and even startling voices.--Marc Lee RaphaelNathan and Sophia Gumenick Professor of Judaic Studies,The College of William and Mary

Architects are known for drawing blueprints with T-squares and triangles on drawing boards. They no longer do. Building designs today are produced on computers. The men and women who learned to draw by hand with pencils learned to draw with computers. Some of that transition was sudden, a revolution. Most was more gradual, an evolution. Off the Boards tells the story of the transition. The author experienced its entire span, observing how the changes affected design, the profession, and the entire practice of architecture. Architectural projects, called work on the boards, moved off the boards.

The interest in Southern women's history has never been higher nor more exciting. And one of the most important nineteenth-century South Carolinians is Anna Maria Calhoun, daughter and frequent confidante of John Caldwell Calhoun, a significant political and intellectual figure of nineteenth-century American history. During one of his periods in Washington, D.C., Anna met and later married a Pennsylvania scientist, Thomas Green Clemson. Subsequently, Anna and Thomas traveled through much of the American east, and became co-founders of Clemson University. Due to Anna's copious correspondence, her papers have offered Anna Ratliff Russell much material to create this fascinating study in nineteenth-century history.--Jerome V. Reel, Jr., Ph.D., Clemson University Historian

The most compelling dilemma one faces in reading William Ramsey's Dilemmas is whether to linger on one poem, wringing all the pleasure possible from a single piece, or to hurry on in an effort to absorb the cumulative effect of the entire volume. Both approaches are appealing. Most rewarding of all is the prospect of repeating them both, over and over and over again. These poems are the products of a comprehensive intelligence compounded by a transformative imagination, delivered in language that soars. I am honored to recommend them. -Don Johnson, Poet in Residence, East Tennessee State University

A vivid and emotional poetry collection from Margot Douaihy, one of the most powerful poets writing today. As Pulitzer Prize finalist, Stephen Karam, has said, "Girls Like You is a masterful collection-at turns haunting, hilarious and heartbreaking. Douaihy pulls off a magic trick: by focusing our attention to deeply intimate moments and memories, her gorgeously wrought poems conjure the epic."