Roadside Crosses in Contemporary Memorial Culture
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Cloudsplitter
Reading Guide Cloudsplitter By Russell Banks ISBN: 9780060930868 Plot Summary Owen Brown, an old man wracked with guilt and living alone in the California hills, answers a query from an historian who is writing about the life and times of Owen's famous abolitionist father, John Brown. In an effort to release the demons of his past so that he can die in peace, Owen casts back his memory to his youth, and the days of the Kansas Wars which led up to the raid on Harper's Ferry. As he begins describing his childhood in Ohio, in Western Pennsylvania, and in the mountain village of North Elba, NY, Owen reveals himself to be a deeply conflicted youth, one whose personality is totally overshadowed by the dominating presence of his father. A tanner of hides and an unsuccessful wholesaler of wool, John Brown is torn between his yearnings for material success and his deeply passionate desire to rid the United States of the scourge of slavery. Having taken an oath to God to dedicate his life and the lives of his children to ending slavery, he finds himself constantly thwarted by his ever-increasing debts due to a series of disastrous business ventures. As he drags his family from farmstead to farmstead in evasion of the debt collectors, he continues his vital work on the Underground Railroad, escorting escaped slaves into Canada. As his work brings him into contact with great abolitionists like Frederick Douglass, Harriet Tubman, and other figures from that era, Brown finds his commitment to action over rhetoric growing ever more fervent. -
100 Best Last Lines from Novels
100 Best Last Lines from Novels 1. …you must go on, I can’t go on, I’ll go on. –Samuel Beckett, The Unnamable 22. YOU HAVE FALLEN INTO ARt—RETURN TO LIFE –William H. Gass, (1953; trans. Samuel Beckett) Willie Masters’ Lonesome Wife (1968) 2. Who knows but that, on the lower frequencies, I speak for you? –Ralph Ellison, 23. In your rocking-chair, by your window dreaming, shall you long, alone. In your Invisible Man (1952) rocking-chair, by your window, shall you dream such happiness as you may never feel. –Theodore Dreiser, Sister Carrie (1900) 3. So we beat on, boats against the current, borne back ceaselessly into the past. –F. Scott Fitzgerald, The Great Gatsby (1925) 24. Go, my book, and help destroy the world as it is. –Russell Banks, Continental Drift (1985) 4. …I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the 25. It was the devious-cruising Rachel, that in her retracing search after her missing Moorish wall and I thought well as well him as another and then I asked him with children, only found another orphan. –Herman Melville, Moby-Dick (1851) my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could 26. The knife came down, missing him by inches, and he took off. -
The Lives of the Saints
'"Ill lljl ill! i j IIKI'IIIII '".'\;\\\ ','".. I i! li! millis i '"'''lllllllllllll II Hill P II j ill liiilH. CORNELL UNIVERSITY LIBRARY Cornell University Library BR 1710.B25 1898 v.7 Lives of the saints. 3 1924 026 082 598 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924026082598 *— * THE 3Utoe* of tt)e Saints; REV. S. BARING-GOULD SIXTEEN VOLUMES VOLUME THE SEVENTH *- -* . l£ . : |£ THE Itoes of tfje faints BY THE REV. S. BARING-GOULD, M.A. New Edition in 16 Volumes Revised with Introduction and Additional Lives of English Martyrs, Cornish and Welsh Saints, and a full Index to the Entire Work ILLUSTRATED BY OVER 400 ENGRAVINGS VOLUME THE SEVENTH KttljJ— PARTI LONDON JOHN C. NIMMO &° ' 1 NEW YORK : LONGMANS, GREEN, CO. MDCCCXCVIII *• — ;— * Printed by Ballantyne, Hanson & Co. At the Eallantyne Press *- -* CONTENTS' PAGE S. Athanasius, Deac. 127 SS. Aaron and Julius . I SS. AudaxandAnatholia 203 S. Adeodatus . .357 „ Agilulf . 211 SS. Alexanderandcomp. 207 S. Amalberga . , . 262 S. Bertha . 107 SS. AnatholiaandAudax 203 ,, Bonaventura 327 S. Anatolius,B. of Con- stantinople . 95 „ Anatolius, B.ofLao- dicea . 92 „ Andrew of Crete 106 S. Canute 264 Carileff. 12 „ Andrew of Rinn . 302 „ ... SS. Antiochus and SS. Castus and Secun- dinus Cyriac . 351 .... 3 Nicostra- S. Apollonius . 165 „ Claudius, SS. Apostles, The Sepa- tus, and others . 167 comp. ration of the . 347 „ Copres and 207 S. Cyndeus . 277 S. Apronia . .357 SS. Aquila and Pris- „ Cyril 205 Cyrus of Carthage . -
The Poetry Project at 50
The Poetry Project december 2016 / january 2017 Issue #249 The Poetry Project december 2016 / January 2017 Issue #249 Director: Stacy Szymaszek Managing Director: Nicole Wallace Archivist: Will Edmiston Program Director: Simone White Archival Assistant: Marlan Sigelman Communications & Membership Coordinator: Laura Henriksen Bookkeeper: Carlos Estrada Newsletter Editor: Betsy Fagin Workshop/Master Class Leaders (Spring 2017): Lisa Jarnot, Reviews Editor: Sara Jane Stoner Pierre Joris, and Matvei Yankelevich Monday Night Readings Coordinator: Judah Rubin Box Office Staff: Micaela Foley, Cori Hutchinson, and Anna Wednesday Night Readings Coordinator: Simone White Kreienberg Friday Night Readings Coordinator: Ariel Goldberg Interns: Shelby Cook, Iris Dumaual, and Cori Hutchinson Friday Night Readings Assistant: Yanyi Luo Newsletter Consultant: Krystal Languell Volunteers Mehroon Alladin, Mel Elberg, Micaela Foley, Hadley Gitto, Jessica Gonzalez, Olivia Grayson, Cori Hutchinson, Raffi Kiureghian, Anna Kreienberg, Phoebe Lifton, Ashleigh Martin, Dave Morse, Batya Rosenblum, Isabelle Shallcross, Hannah Treasure, Viktorsha Uliyanova, and Shanxing Wang. Board of Directors Camille Rankine (Chair), Katy Lederer (Vice-Chair), Carol Overby (Treasurer), and Kristine Hsu (Secretary), Todd Colby, Adam Fitzgerald, Boo Froebel, Erica Hunt, Jonathan Morrill, Elinor Nauen, Laura Nicoll, Purvi Shah, Jo Ann Wasserman, and David Wilk. Friends Committee Brooke Alexander, Dianne Benson, Will Creeley, Raymond Foye, Michael Friedman, Steve Hamilton, Viki Hudspith, -
Gendering Men
GENDERING MEN : THEORIZING MASCULINITIES IN AMERICAN CULTURE AND LITERATURE José María Armengol Carrera Directora: Dra. Àngels Carabí Ribera Tesi doctoral Per optar al títol de doctor en Filologia Anglesa Programa de doctorat “Literatures i cultures” Bienni 2000-2002 Departament de Filologia Anglesa i Alemanya Universitat de Barcelona Works Cited Allen, Theodore W. The Invention of the White Race. Volume I. Racial Oppression and Social Control. 1994. London and New York: Verso, 1995. ---. The Invention of the White Race. Volume II. The Origin of Racial Oppression in Anglo-America. London and New York: Verso, 1997. Andrés, Rodrigo. “La homosexualidad masculina, el espacio cultural entre masculinidad y feminidad, y preguntas ante una ‘crisis.’” Nuevas masculinidades. Ed. Àngels Carabí and Marta Segarra. Barcelona: Icaria, 2000. 121-32. Anzaldúa, Gloria E. Preface. This Bridge We Call Home. Ed. Gloria E. Anzaldúa and Analouise Keating. New York and London: Routledge, 2002. 1-5. Arendt, Hannah. On Revolution. New York: Viking, 1976. Armengol, Josep Maria. “‘Attention, attention must be finally paid to such a person:’ A Men’s Studies Rereading of Arthur Miller’s Death of a Salesman.” Revista de Estudios Norteamericanos 10 (2004): 21-46. ---. “Colonial Masculinities: British (Mis)Representations of the Indian Man.” Actas del 25º Congreso Internacional AEDEAN (Asociación Española de Estudios Anglonorteamericanos). Ed. Marta Falces, Mercedes Díaz, and José Mª Pérez. CD-ROM. Granada: Departamento de Filología Inglesa de la Universidad de Granada, 2001. n. p. ---. “Richard Ford.” Men and Masculinities: A Social, Cultural, and Historical Encyclopedia. Vol. 1. Santa Barbara, CA: ABC-Clio Press, 2004. 311-4. ---. “Travestismos literarios: identidad, autoría y representación de la masculinidad en la literatura escrita por mujeres.” Hombres escritos por mujeres. -
Toni Morrison: the Pieces I Am
TONI MORRISON: THE PIECES I AM A Film by Timothy Greenfield-Sanders LOGLINE This artful and intimate meditation on legendary storyteller Toni Morrison examines her life, her works and the powerful themes she has confronted throughout her literary career. Morrison leads an assembly of her peers, critics and colleagues on an exploration of race, history, America and the human condition. SYNOPSIS Toni Morrison: The Pieces I Am offers an artful and intimate meditation on the life and works of the legendary storyteller and Nobel prize-winner. From her childhood in the steel town of Lorain, Ohio to ‘70s-era book tours with Muhammad Ali, from the front lines with Angela Davis to her own riverfront writing room, Toni Morrison leads an assembly of her peers, critics and colleagues on an exploration of race, America, history and the human condition as seen through the prism of her own literature. Inspired to write because no one took a “little black girl” seriously, Morrison reflects on her lifelong deconstruction of the master narrative. Woven together with a rich collection of art, history, literature and personality, the film includes discussions about her many critically acclaimed works, including novels “The Bluest Eye,” “Sula” and “Song of Solomon,” her role as an editor of iconic African-American literature and her time teaching at Princeton University. In addition to Ms. Morrison, the film features interviews with Hilton Als, Angela Davis, Fran Lebowitz, Walter Mosley, Sonia Sanchez and Oprah Winfrey, who turned Morrison’s novel “Beloved” into a feature film. Using Timothy Greenfield-Sanders’ elegant portrait- style interviews, Toni Morrison: The Pieces I Am includes original music by Kathryn Bostic, a specially created opening sequence by artist Mickalene Thomas, and evocative works by other contemporary African-American artists including Kara Walker, Rashid Johnson and Kerry James Marshall. -
Realist Grounds: an Interview with Russell Banks
Re1•ista de Estudios Norteamericanos. 11.º 4 ( 1996). pp. 89 - 98 BACK TO REALIST GROUNDS: AN INTERVIEW WITH RUSSELL BANKS FRANCISCO COLLADO RODRÍGUEZ Universidad de Zaragoza In 1992 critic Tony Hilfer ended one of the chapters of his book American Fiction Sine e 1940 (New York: Longman) posing a suspicion about the near future ofAmerican fiction. «It would be premature to declare,» he wrote, «who the coming writers of the 1990s will be but there is reason to suspect that most will be realist» (1992, 187). In the same volume Hilfer also affirmed the increasing critica! importance of realist writer Russell Banks, whose novel Affliction ( 1989) goes back to explore American family life and its most anguishing effects -in this case- of divorce, alcoholism, loss of a child, and mental illness. Although his name is not listed yet in the literary anthologies between Baldwin and Baraka, Bank's importance has been increasing in later years. More than a dozen books, including his successful Continental Drift (1986) and The Sweet Hereafter (1991), have eamed him, among other things, a chair at Princeton to teach creative writing, a position that he shares with another member of his literary generation, Joyce Caro! Oates. But, in this literary generation we are dealing with is realism effectively striking back? That was my first question and, from the beginning, Banks appeared to have very clear views on the issue: R. BANKS.- As you probably know, American writers entered a period in the 1960s and 1970s where they seriously questioned the premises of realism, and attacked those premises by and large. -
City Petition
No. _______ In the Supreme Court of the United States __________ CITY OF PENSACOLA, FLORIDA, ET AL. Petitioners, v. AMANDA KONDRAT’YEV, ET AL. Respondents. __________ ON PETITION FOR A WRIT OF CERTIORARI TO THE UNITED STATES COURT OF APPEALS FOR THE ELEVENTH CIRCUIT __________ PETITION FOR A WRIT OF CERTIORARI __________ MICHAEL W. MCCONNELL L UKE W. GOODRICH 559 Nathan Abbott Way Counsel of Record Stanford, CA 94305 L ORI H. WINDHAM J OSEPH C. DAVIS JAMES NIXON DANIEL The Becket Fund for TERRIE LEE DIDIER Religious Liberty Beggs & Lane, RLLP 1200 New Hampshire 501 Commendencia St. Ave., N.W., Ste. 700 Pensacola, FL 32502 Washington, DC 20036 (202) 955-0095 [email protected] Counsel for Petitioner QUESTIONS PRESENTED Relying on the “Lemon test,” a panel of the Elev- enth Circuit held that a city violated the Establish- ment Clause by allowing the display of a cross that has been an uncontroversial part of community life for over 75 years. The questions presented are: 1. Whether plaintiffs have standing to sue under the Establishment Clause when their only alleged in- jury consists of the feelings of “offense” produced by observing a passive religious display. 2. Whether, under Town of Greece v. Galloway, 134 S. Ct. 1811 (2014), passive religious displays with a long historical pedigree must be torn down because of claims that they have the purpose or effect of endors- ing religion. ii PARTIES TO THE PROCEEDING Petitioners are the City of Pensacola, Florida; Ash- ton Hayward, Mayor of the City of Pensacola; and Brian Cooper, Director of the City of Pensacola Parks and Recreation Department. -
On the Craft of Fiction—EL Doctorow at 80
Interview Focus Interview VOLUME 29 | NUMBER 1 | FALL 2012 | $10.00 Deriving from the German weben—to weave—weber translates into the literal and figurative “weaver” of textiles and texts. Weber (the word is the same in singular and plural) are the artisans of textures and discourse, the artists of the beautiful fabricating the warp and weft of language into everchanging pattterns. Weber, the journal, understands itself as a tapestry of verbal and visual texts, a weave made from the threads of words and images. This issue of Weber - The Contemporary West spotlights three long-standing themes (and forms) of interest to many of our readers: fiction, water, and poetry. If our interviews, texts, and artwork, as always, speak for themselves, the observations below might serve as an appropriate opener for some of the deeper resonances that bind these contributions. THE NOVEL We live in a world ruled by fictions of every kind -- mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer’s task is to invent the reality. --- J. G. Ballard WATER Anything else you’re interested in is not going to happen if you can’t breathe the air and drink the water. -
MR. WING Read the Following Paper Upon CHURCHYARD CROSSES
CHUECHYAED CEOSSES. 389 MR. WING read the following Paper upon CHURCHYARD CROSSES. IN the manners and habits of mankind we find an almost natural disposition to make use of emblems, the semi-barbarous exhibit ing it as well as those advanced in civilisation; nor has the discovery of printing, and the consequent extension of education amongst all classes, superseded this practice. We may very readily conceive its convenience and importance when letters were taught only to a favoured few, as in times gone by; it was then amongst the means most effectual of making lasting impressions on the mind, and especially so of facts and doctrines connected with religion; hence the dark ages as the Mediaeval period has been called, were so fruitful in ingenious symbolical inventions. In those times of ignorance, the fountain of Holy Writ, to which we can so happily resort, was scarcely accessible, at least to the multi tude, and instruction in religion through any written medium was impracticable with them, by reason of their inability for reading. Then, as the mind and heart must be approached through the external senses, and as their ears could serve them only at the set times appointed for hearing, their eyes were fed more constantly with pictures or imagery; and by a kind of refinement of the latter there were presented to them symbols, to engage their reflection upon leading truths, and to impart a more abiding recollection of them. We may go farther back, for it was for this purpose, as well as others, that the Divine Founder of Christianity instituted Baptism and the Eucharist; and, in more ordinary usage, the Church has all along employed a multiplicity of outward and visible signs with similar intention; whilst of the many symbolical representations which she has introduced, first and foremost has been the cross. -
Private Memorials on Public Space
Nebraska Law Review Volume 92 | Issue 1 Article 5 2013 Private Memorials on Public Space: Roadside Crosses at the Intersection of the Free Speech Clause and the Establishment Clause Amanda Reid Florida Coastal School of Law, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/nlr Recommended Citation Amanda Reid, Private Memorials on Public Space: Roadside Crosses at the Intersection of the Free Speech Clause and the Establishment Clause, 92 Neb. L. Rev. (2014) Available at: https://digitalcommons.unl.edu/nlr/vol92/iss1/5 This Article is brought to you for free and open access by the Law, College of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Nebraska Law Review by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 33655-neb_92-1 Sheet No. 66 Side B 08/28/2013 10:13:22 \\jciprod01\productn\N\NEB\92-1\NEB105.txt unknown Seq: 1 27-AUG-13 10:54 Amanda Reid* Private Memorials on Public Space: Roadside Crosses at the Intersection of the Free Speech Clause and the Establishment Clause TABLE OF CONTENTS I. Introduction .......................................... 125 R II. Toward an Understanding of the Roadside Memorial Phenomenon .......................................... 130 R A. Roadside Memorials Are Growing in Popularity .... 130 R B. Road Death Is a “Bad Death” ...................... 131 R C. Constructing the Roadside Memorial ............... 134 R D. The Message of the Roadside Memorial ............ 137 R III. Public Opinion and Public Policy on Roadside Memorials ............................................ 143 R A. Public Opinion on Roadside Memorials ........................................ 143 R B. Patchwork of Public Policies on Roadside Memorials ....................................... -
Alternative Memorials: Death and Memory in Contemporary
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank ALTERNATIVE MEMORIALS: DEATH AND MEMORY IN CONTEMPORARY AMERICA by ROBERT DOBLER A THESIS Presented to the Interdisciplinary Studies Program: Individualized Program and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofArts September 2010 11 "Alternative Memorials: Death and Memory in Contemporary America," a thesis prepared by Robert Dobler in partial fulfillment ofthe requirements for the Master of Arts degree in the Interdisciplinary Studies Program: Individualized Program. This thesis has been approved and accepted by: Dr. DaniefWojcik, Chair ofthe xamining Committee Committee in Charge: Dr. Daniel Wojcik, Folklore, Chair Dr. Philip Scher, Anthropology Dr. Doug Blandy, Arts and Administration Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Robert Dobler for the degree of Master ofArts in the Interdisciplinary Studies Program: Individualized Program to be taken September 20 I 0 Title: ALTERNATIVE MEMORIALS: DEATH AND MEMORY IN CONTEMPORARY AMERICA Approved: _ Dr. Daniel Wojcik Approved: _1 _ / Dr. hilip Scher Approved: _ Alternative forms ofmemorialization offer a sense ofempowerment to the mourner, bringing the act ofgrieving into the personal sphere and away from the clinical or official realm offuneral homes and cemeteries. Constructing a spontaneous shrine allows a mourner to create a meaningful narrative ofthe deceased's life, giving structure and significance to a loss that may seem chaotic or meaningless in the immediate aftermath. These vernacular memorials also function as focal points for continued IV communication with the departed and interaction with a community ofmourners that blurs distinctions between public and private spheres.