DOCSLIB.ORG

University of Cincinnati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Cincinnati UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ BEARING A CROSS A dissertation submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements of the degree of DOCTORATE OF PHILOSOPHY (Ph.D.) in the Department of English and Comparative Literature of the College of Arts and Sciences 2006 by Joseph Ray Bates B.A. Clemson University, 1997 M.A. Clemson University, 2000 Committee Chair: Brock Clarke, Ph.D. ABSTRACT Bearing A Cross is a collection of stories which hail from Southern literature not in terms of reverting to the disingenuous constraints of regionalism or to the repeated, too-often-revered tropes of the tradition but rather in terms of aesthetics, manners, and aims. Borrowing from Flannery O’Connor, I define this approach in my introductory essay as a “realism of distance,” as a style of writing which engages the comic and the grotesque not simply as subject matters but as a way to undercut, and thereby approach, the more serious and sacrosanct subject. The realist of distance exaggerates in order to better examine, distorts in order to draw his subjects into focus…in other words, he seeks to remove distance in order to ask basic moral, ontological, even theological questions. While it is true that much of the fiction collected in this dissertation seems, at first glance, to embrace various secondhand Southernisms—including but not limited to Civil War reenactments, Elvis impersonators, and the marriage of church and firearms—my intended subjects, meaning, my truer subjects, are men and women questioning their faith, their love, their lives. The critical portion of this dissertation, “The Beginning of Thought: Ralph Ellison, Richard Wright, and the Aesthetics of the Protest Novel,” deals with similar issues of tradition, trope, and the individual talent. Specifically, I examine Wright’s Native Son, that work of social commentary and criticism that intends to be art, and Ellison’s Invisible Man, a work that rejects the limiting and simplistic schemas of protest fiction in favor of an aesthetic of complication yet which succeeds, on that very point, as a novel which provokes and invites serious social and political thought. ACKNOWLEDGMENTS I would like to thank my committee for their inestimable guidance not only in the completion of this dissertation but throughout my doctoral work. In particular I would like to thank Brock Clarke for his years of encouragement and mentorship. My gratitude goes to the English departments at the University of Cincinnati and Clemson University and to the fine people there. I would also like to thank my family and friends for their love and support, without which I could not have undertaken this degree, much less completed it. Thank you for everything. And finally, my love and thanks to Lauren. Whenever I am asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one. To be able to recognize a freak, you have to have some conception of the whole man, and in the South the general conception of man is still, in the main, theological. —Flannery O’Connor CONTENTS Introduction: A Realism of Distance…………………………………………………………………….2 Jesus Is Coming Soon…………………………………………………………………………………..15 Yankees Burn Atlanta…………………………………………………………………………………..33 Butterfinger……………………………………………………………………………………………..56 The South Will Rise Again……………………………………………………………………………..65 The Form of the Joke…………………………………………………………………………………...91 Boardwalk Elvis……………………………………………………………………………………….116 Bearing A Cross……………………………………………………………………………………….140 The UFOs……………………………………………………………………………………………...170 The Beginning of Thought…………………………………………………………………………….200 Introduction A Realism of Distance In The Anxiety of Influence, Harold Bloom asserts that Authentic, high literature relies upon troping, a turning away not only from the literal but from prior tropes. Like criticism, which is either part of literature or nothing at all, great writing is always at work strongly (or weakly) misreading previous writing. (xix) For the fiction writer, this anxiety of influence is ever-present—never more so, perhaps, than when he is writing about his own writing—and, as Bloom points out, this necessarily must be, if art is indeed both the process and the product of realizing, responding to, and rejecting the methods and manners of the artist’s forebears, an almost-Freudian balancing act between family tradition and family feud, and with equal neurosis. Of course the anxiety here is heightened all the more by the fact that the artist, unlike the rest of humanity, is able to choose his or her own family, his or her own forebears, to adopt him- or herself into a given tradition and then to search for ways to further that tradition by breaking it, reforming it, risking its ruin. If all of this is true, then the Southern writer must be the least anxious writer working today. Not that the Southern writer hasn’t misread his forebears; he has, rather seriously, enthusiastically, and it has brought him great, goofy, embarrassing joy. Rather, the Southern writer’s misreading of his own literary heritage—indeed, Southern literature’s continual misreading of itself—has tended to be not an act of anxiety at all but an act of happy acquiescence, of proud-to-be-here homage, and of blind, even dangerous devotion. The Southern writer, rather than rejecting his prior tropes, has taken them for gospel, has exalted and revered them, and any literature that reveres its own tropes is a dead literature. Put another way: The problem of the Southern writer is not simply that he makes use of the tropes of the tradition—the rural setting, the dirt-poor conditions, the crooked preachers and 2 politicians, the girls with wooden legs or glass eyes, the freakshows, the farmhands, the mule— but that he still believes them. Borrowing from Emerson, the Southern writer has been Faulknerizing for seventy-plus years, and he has done so, perhaps, for the worst reason possible: because he suspects that this is Southern literature. Thus the fundamental dilemma of Southern literature for those in its critical and creative pursuit becomes one first of definition, and Southern literature, despite the obvious, has none. Surely we can say that Southern literature is literature “of and from the South,” but this tells us nothing. Both point to region as the superficial qualifier, whether it is the region of birthright or the region of subject matter or, as a purist of the misguided definition might suggest, both. If it is region of birthright, then the Southern writer need feel no anxiety of influence: He is a member of the tradition by virtue of the fact he was spat out somewhere below the Mason Dixon. If it is region of subject matter, then bring in the crooked politicians and preachers, the girls with wooden legs, and one more dead mule to beat. Even if a Southern writer must be both at once, this is hardly an initiation. It requires a bit of luck and a bit of redundancy, and the ability to read. Of course, there are those defenders of Southern literature and its tradition who argue that this kind of blind faith in and stubborn adherence to the past are not faults at all but rather a defining feature of the Southern temperament, creative or otherwise. In “The Good Songs Behind Us: Southern Fiction of the 1990s,” Fred Chappell, one of the literature’s most revered elder statesmen, makes the claim that the fundamental burden of the Southern writer—as well as the Southerner in general—is history. “The Southern writer is entranced by Southern cultural history,” Chappell writes, “because it is the only story there is. Once upon a time things were the way they were supposed to be. Then something happened. Since that point, things have never 3 been the same” (3). Chappell goes on to make the link between this ubiquitous history—offered briefly in the above passage, in his own italics, as a kind of War of Northern Aggression bedtime story, though thankfully not in dialect—and the very earth that makes up the Southern landscape: “History is pervasive; certain poets…have posited the thesis that history is mystically but nevertheless physically present in the Southern landscape, in the soil itself” (2). In the end, Chappell argues, it is precisely this pervasive sense of the past that informs the Southern present: A Southerner will revere his forebears not because they were smarter, braver, or more virtuous than he believes himself to be, but because they inscribed with their lives the History that he sees as a counterpart of Nature; it is almost as large as Nature in his thinking and, as we have remarked, not entirely separate from it. Our ancestors did not simply die; they died in the cause of the past, in the service of the History that they lived in order deliberately to create. (6) Such is the prevailing sentiment of Southern literature, and thus its predicament: No workable definition has grown out of the tradition because none has been willing to outgrow it. Sometimes this reverence for the tradition and for the integrity of forebears requires the writer to set his work in the Deep Past, in that safeguarded
Load more

Recommended publications
  • Striving for Anti-Racism: a Beginner's Journal!
    Striving For Anti-Racism: A Beginner’s Journal BY BEYOND THINKING Special Thanks Anti-racism work does not happen in a vacuum. This journal would not be possible without the brilliance of Jennifer Wong, Karimah Edwards, Kyana Wheeler, Lauren Kite, and Cat Cuevas. Jennifer Wong, Creative Designer Attorney, and also the love of my life (!) Karimah Edwards, Editor Hummingbird Cooperative Kyana Wheeler, Anti-Racist Consultant and Advisor Kyana Wheeler Consulting Lauren Kite, Anti-Racist Consultant and Advisor Cat Cuevas, Anti-Racist Consultant and Advisor Table of Contents Introduction .................................................................................4 How to Use This Journal........................................................ 7 I. WORKSHEETS & RESOURCES ................................. 9 Values ........................................................................................10 Emotions ................................................................................. 12 Racial Anxiety Self-Assessment (Round 1) .......14 Biases ........................................................................................ 16 Cultural Lenses ................................................................... 17 Privileges .................................................................................18 Privilege Bingo.................................................................... 19 Microaggressions .............................................................20 Common Forms of Resistance ..............................
    [Show full text]
  • James Baldwin As a Writer of Short Fiction: an Evaluation
    JAMES BALDWIN AS A WRITER OF SHORT FICTION: AN EVALUATION dayton G. Holloway A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1975 618208 ii Abstract Well known as a brilliant essayist and gifted novelist, James Baldwin has received little critical attention as short story writer. This dissertation analyzes his short fiction, concentrating on character, theme and technique, with some attention to biographical parallels. The first three chapters establish a background for the analysis and criticism sections. Chapter 1 provides a biographi­ cal sketch and places each story in relation to Baldwin's novels, plays and essays. Chapter 2 summarizes the author's theory of fiction and presents his image of the creative writer. Chapter 3 surveys critical opinions to determine Baldwin's reputation as an artist. The survey concludes that the author is a superior essayist, but is uneven as a creator of imaginative literature. Critics, in general, have not judged Baldwin's fiction by his own aesthetic criteria. The next three chapters provide a close thematic analysis of Baldwin's short stories. Chapter 4 discusses "The Rockpile," "The Outing," "Roy's Wound," and "The Death of the Prophet," a Bi 1 dungsroman about the tension and ambivalence between a black minister-father and his sons. In contrast, Chapter 5 treats the theme of affection between white fathers and sons and their ambivalence toward social outcasts—the white homosexual and black demonstrator—in "The Man Child" and "Going to Meet the Man." Chapter 6 explores the theme of escape from the black community and the conseauences of estrangement and identity crises in "Previous Condition," "Sonny's Blues," "Come Out the Wilderness" and "This Morning, This Evening, So Soon." The last chapter attempts to apply Baldwin's aesthetic principles to his short fiction.
    [Show full text]
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • Bad Cops: a Study of Career-Ending Misconduct Among New York City Police Officers
    The author(s) shown below used Federal funds provided by the U.S. Department of Justice and prepared the following final report: Document Title: Bad Cops: A Study of Career-Ending Misconduct Among New York City Police Officers Author(s): James J. Fyfe ; Robert Kane Document No.: 215795 Date Received: September 2006 Award Number: 96-IJ-CX-0053 This report has not been published by the U.S. Department of Justice. To provide better customer service, NCJRS has made this Federally- funded grant final report available electronically in addition to traditional paper copies. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. This document is a research report submitted to the U.S. Department of Justice. This report has not been published by the Department. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. Bad Cops: A Study of Career-Ending Misconduct Among New York City Police Officers James J. Fyfe John Jay College of Criminal Justice and New York City Police Department Robert Kane American University Final Version Submitted to the United States Department of Justice, National Institute of Justice February 2005 This project was supported by Grant No. 1996-IJ-CX-0053 awarded by the National Institute of Justice, Office of Justice Programs, U.S. Department of Justice. Points of views in this document are those of the authors and do not necessarily represent the official position or policies of the U.S.
    [Show full text]
  • How Bigger Was Born Anew
    Fall 2020 29 ow Bier as Born new datation Reuration and Double Consciousness in Nambi E elle’s Native Son Isaiah Matthew Wooden This essay analyzes Nambi E. Kelley’s stage adaptation of Native Son to consider the ways tt Aicn Aeicn is itlie by n constitte to cts o etion t sharpens particular focus on how Kelley reinvigorates Wright’s novel’s searing social and cil cities by ctiely ein te oisin etpo o oble consciosness n iin ne o, enin, n se to te etpo, elleys Native Son extends the debates about “the problem of the color line” that Du Bois’s writing helped engender at te beinnin o te tentiet centy into te tentyst n, in so oin, opens citicl space to reckon with the persistent and pernicious problem of anti-Black racism. ewords adaptation, refguration, double consciousness, Native Son, Nambi E. Kelley This essay takes as a central point of departure the claim that African American drama is vitalized by and, indeed, constituted through acts of refguration. It is such acts that endow the remarkably capacious genre with any sense or semblance of coherence. Retion is notably a word with multiple signifcations. It calls to mind processes of representation and recalculation. It also points to matters of meaning-making and modifcation. The pref re does important work here, suggesting change, alteration, or even improvement. For the purposes of this essay, I use etion to refer to the strategies, practices, methods, and techniques that African American dramatists deploy to transform or give new meaning to certain ideas, concepts, artifacts, and histories, thereby opening up fresh interpretive and defnitional possibilities and, when appropriate, prompting much-needed reckonings.
    [Show full text]
  • 8 Questions for the Fiction of Universalism the Shack by William
    8 Questions for the Fiction of Universalism The Shack by William P. Young The Last Word and the Word After That by Brian McLaren Love Wins by Rob Bell By Dr. James B. De Young www.burningdowntheshackbook.com 2016 1. What’s all the fuss about? This literature is just fiction isn’t it? Yet this fiction is decidedly theological fiction. These writers explicitly affirm the theology of it. It seeks to advocate a particular, newer view of God, the Trinity, the meaning of sin, reconciliation, the judgment, hell and punishment, the church and other institutions (government, marriage, etc.). 2. Do we have to expect Christian fiction to be solidly Christian or can it be untrue at places? Christian fiction must be true to the Bible to prevent leading impressionable readers astray. Remember the authors believe the doctrines they affirm in their fiction. 3. Do not the pluses, the advantages, outweigh the minuses, the negatives? In writing a novel can an author deviate from the truth revealed in Christ? “A little leaven permeate the whole lump” and taints the whole fiction with corruption. One rotten apple spoils the whole barrel—a proverb we all know by personal experience. 4. If people are being brought closer to God, to discover for the first time that God is a God of love, isn’t this the most important thing? It is important to learn that God is a God of love and to develop a closer relationship to him. But what kind of a God is one brought closer to if a whole side of his being, his justice and holiness, is ignored, subverted, and even rejected? Is one truly brought closer to God if God has been redefined? A.W.
    [Show full text]
  • Demonstrations, Demoralization, and Depolicing
    Demonstrations, Demoralization, and Depolicing Christopher J. Marier Lorie A. Fridell University of South Florida Direct correspondence to Christopher J. Marier, Department of Criminology, University of South Florida, 4202 E. Fowler Ave. SOC107, Tampa, FL 33620 (email: [email protected]; ​ https://orcid.org/0000-0002-2445-6315). ​ Christopher J. Marier is a PhD candidate at the University of South Florida. His areas of interest include race and justice, policing, and cross-national research. He is a recipient of the University of South Florida Graduate Fellowship Award. Lorie A. Fridell is Professor of Criminology at the University of South Florida, former Director of Research at the Police Executive Research Forum, and CEO of Fair and Impartial Policing, a ​ ​ national law enforcement training program. NOTE: Draft version 1.1, 8/10/2019. This paper has not been peer reviewed. This paper has not yet been ​ published and is therefore not the authoritative document of record. Please do not copy or cite without authors’ permission. DEMONSTRATIONS, DEMORALIZATION & DEPOLICING 1 Abstract Research Summary This study examined relationships between public antipathy toward the police, demoralization, and depolicing using pooled time-series cross-sections of 13,257 surveys from law enforcement officers in 100 U.S. agencies both before and after Ferguson and contemporaneous demonstrations. The results do not provide strong support for Ferguson Effects. Post-Ferguson changes to job satisfaction, burnout, and cynicism (reciprocated distrust) were negligible, and while Post-Ferguson officers issued fewer citations, they did not conduct less foot patrol or attend fewer community meetings. Cynicism, which was widespread both before and after Ferguson, was associated with less police activity of all types.
    [Show full text]
  • Simply Folk Sing-Along 2018 If I Had a Hammer If I Had a Hammer, I'd Hammer in the Morning, I'd Hammer in the Evening, All Over
    Simply Folk Sing-Along 2018 If I Had a Hammer If I had a hammer, I'd hammer in the morning, I'd hammer in the evening, all over this land I'd hammer out danger, I'd hammer out a warning I'd hammer out love between my brothers and my sisters, all over this land If I had a bell, I'd ring it in the morning, I'd ring it in the evening, all over this land I'd ring out danger, I'd ring out a warning I'd ring out love between my brothers and my sisters, all over this land If I had a song, I'd sing it in the morning, I'd sing it in the evening, all over this land I'd sing out danger, I'd sing out a warning I'd sing out love between my brothers and my sisters, all over this land Well I've got a hammer, and I've got a bell, and I've got a song to sing, all over this land It's the hammer of justice, it's the bell of freedom It's the song about love between my brothers and my sisters, all over this land You Are My Sunshine The other night dear as I lay sleeping, I dreamed I held you in my arms, But when I woke dear I was mistaken, and I hung my head and I cried You are my sunshine, my only sunshine, you make me happy when skies are gray, You'll never know dear, how much I love you, please don't take my sunshine away I'll always love you and make you happy, if you will only say the same, But if you leave me and love another, you’ll regret it all someday You told me once dear, you really loved me, and no one could come between, But now you've left me to love another, you have shattered all of my dreams In all my dreams, dear, you seem to leave me; when I awake my poor heart pains So won’t you come back and make me happy, I’ll forgive, dear, I’ll take all the blame City of New Orleans Riding on the City of New Orleans, Illinois Central Monday morning rail Fifteen cars and fifteen restless riders, three conductors and twenty-five sacks of mail.
    [Show full text]
  • Stories of Fourth Amendment Disrespect: from Elian to the Internment
    Fordham Law Review Volume 70 Issue 6 Article 18 2002 Stories of Fourth Amendment Disrespect: From Elian to the Internment Andrew E. Taslitz Follow this and additional works at: https://ir.lawnet.fordham.edu/flr Part of the Law Commons Recommended Citation Andrew E. Taslitz, Stories of Fourth Amendment Disrespect: From Elian to the Internment, 70 Fordham L. Rev. 2257 (2002). Available at: https://ir.lawnet.fordham.edu/flr/vol70/iss6/18 This Article is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Law Review by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. Stories of Fourth Amendment Disrespect: From Elian to the Internment Cover Page Footnote Visiting Professor, Duke University Law School, 2000-01; Professor of Law, Howard University School of Law; J.D., University of Pennsylvania School of Law, 1981, former Assistant District Attorney, Philadelphia, Pennsylvania. I thank my wife, Patricia V. Sun, Esq., Professors Robert Mosteller, Sara Sun-Beale, Girardeau Spann, joseph Kennedy, Eric Muller, Ronald Wright, and many other members of the Triangle Criminal Law Working Group, for their comments on early drafts of this Article. I also thank my research assistants, Nicole Crawford, Eli Mazur, and Amy Pope, and my secretary, Ann McCloskey. Appreciation also goes to the Howard University School of Law for funding this project, and to the Duke University Law School for helping me see this effort through to its completion.
    [Show full text]
  • How Black Lives Matter Changed American Museums
    University of Mary Washington Eagle Scholar Student Research Submissions 4-26-2021 “Interrupt the status quo”: How Black Lives Matter Changed American Museums Jessica Lynch Follow this and additional works at: https://scholar.umw.edu/student_research Part of the American Studies Commons Recommended Citation Lynch, Jessica, "“Interrupt the status quo”: How Black Lives Matter Changed American Museums" (2021). Student Research Submissions. 397. https://scholar.umw.edu/student_research/397 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. “Interrupt the status quo”: How Black Lives Matter Changed American Museums Jessica Lynch AMST 485 Dr. Erin Devlin April 26, 2021 1 Abstract Black Lives Matter protests in 2020 were the catalyst for change in many institutions, particularly in museum collections and interpretive methods. This was especially true in museums located in Washington, District of Columbia; Atlanta, Georgia; Portland, Oregon; Los Angeles, California, and Minneapolis, Minnesota. Prior to the protests, most art and history museums upheld a Eurocentric worldview that diminished the contributions of Black Americans. Widespread Black Lives Matter protests, however, forced the discussion of racial equality to the forefront of the American consciousness, encouraging many museums to take a public stance and incorporate Black collective memory into their collections. This thesis analyzes case studies from five American cities that show how museums have utilized the Black Lives Matter Movement’s momentum to create new content for the public. “I hereby declare upon my word of honor that I have neither given nor received unauthorized help on this work.” -Jessica Lynch 2 “If you are neutral in situations of injustice, you have chosen the side of the oppressor.” --Desmond Tutu Few sectors of public life have avoided the reach of Black Lives Matter protests in 2020.
    [Show full text]
  • Paul Green Foundation
    Paul Green Foundation NEWS – October 2017 Native Son’s New Adaptation PAUL GREEN ANNUAL MEETING Playwright Nambi Kelley NOVEMBER 4, 2017 has written plays for NC BOTANICAL GARDEN Steppenwolf, Goodman Theatre and Lincoln Center CHAPEL HILL, NC and most recently was named playwright-in-residence at The 2017 the National Black Theatre in New York. Kelley’s adaptation of Native Son was National Theatre Conference presented to critical acclaim for the premiere December 1-3 in New York City production at the Court Theatre/American Blues Each year the National Theatre Conference Festival. Since that first production it has been Person of the Year names the Paul Green produced in New York, California, Georgia and Award winner. This year’s Person of the Year – Arizona, and published by Samuel French in 2016. Molly Smith selected June Schreiner, a highly The Green Foundation joined with the Wright acclaimed young actor. Since 1989, the Paul Estate to sanction these productions. Green Foundation has honored a “young theatre professional” with this Paul Green Award. A bit of history: Paul Green and Richard Wright’s Native Son that opened on March 24, Founded in 1925, the National Theatre 1941, at the St. James Theatre in New York City, Conference is a not-for-profit organization made was produced by Orson Welles and John up of distinguished members of the American Houseman. Of the very serious disagreement that Theatre Community; Green was instrumental in ensued between Green and Wright, Dr. Laurence the founding the organization and served as Avery, Professor Emeritus, UNC-Chapel Hill president in the early years.
    [Show full text]
  • Brown Water Flashbacks Dennis Allen Mckinney Iowa State University
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2007 Brown water flashbacks Dennis Allen McKinney Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Modern Literature Commons Recommended Citation McKinney, Dennis Allen, "Brown water flashbacks" (2007). Retrospective Theses and Dissertations. 14804. https://lib.dr.iastate.edu/rtd/14804 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Brown water flashbacks by Dennis Allen McKinney A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Creative Writing) Program of Study Committee: Steve Pett, Major Professor Jean Goodwin Ray Dearin David Zimmerman Iowa State University Ames, Iowa 2007 Copyright © Dennis Allen McKinney, 2007. All rights reserved. UMI Number: 1443117 UMI Microform 1443117 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 ii Contents Preface iv 1. Barnyard life 1 2. The wild frontier 5 3. Play time 9 4. New adventures 16 5. War on the horizon 24 6. Behind the curtain 28 7. Culture shock 35 8.
    [Show full text]