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American Fantastic Tales
AMERICAN FANTASTIC TALES TERROR AND THE UNCANNY FROM POE TO THE PULPS Peter Stmub, editor THE LIBRARY OF AMERICA digitalisiert durch: American fantastic tales IDS Luzern 2009 Contents Introduction xi Charles Brockden Brown Somnambulism: A Fragment i Washington Irving The Adventure of the Gerinan Student 21 Edgar Allan Poe Berenice 27 Nathaniel Hawthorne Young Goodman Brown 35 Herman Melville The Tartarus of Maids 49 Fitz-James O'Brien What Was It? 63 Bret Harte The Legend of Monte del Diablo 77 Harriet Prescott Spofford The Moonstone Mass 90 W. C. Morrow His Unconquerable Enemy 102 Sarah Orne Jewett In Dark New England Days 112 Charlotte Perkins Gilman The Yellow Wall Paper 131 Stephen Crane The Black Dog 148 Kate Chopin Ma'a?ne Pelagie 153 John Kendrick Bangs Thurlow's Christmas Story 162 Robert W. Chambers The Repairer of Reputations 177 Ralph Adams Cram The Dead Valley 210 Madeline Yale Wynne The Little Room 219 Gertrude Atherton The Striding Place 232 Vlll CONTENTS Emma Francis Dawson An Itinerant House 238 Mary Wilkins Freeman Luella Miller 255 Frank Norris Grettir at Thoi-hall-stead 269 Lafcadio Hearn Yuki-Onna 282 F. Marion Crawford For the Blood Is the Life 286 Ambrose Bierce The Moonlit Road 302 Edward Lucas White Lukundoo 312 Olivia Howard Dunbar The Shell of Sense 326 Henry James The Jolly Corner 337 Alice Brown Golden Baby 371 Edith Wharton Afterward 386 Willa Catlier Consequences 416 Ellen Glasgow The Shadowy Third 436 Julian Hawthorne Absolute Evil 460 Francis Stevens Unseen—Unfeared 493 F. Scott Fitzgerald The Curious Case of Benjamin Button 510 Seabury Quinn The Curse of Everard Maundy 536 Stephen Vincent Benet The King of the Cats 568 David H. -
BTC Catalog 172.Pdf
Between the Covers Rare Books, Inc. ~ Catalog 172 ~ First Books & Before 112 Nicholson Rd., Gloucester City NJ 08030 ~ (856) 456-8008 ~ [email protected] Terms of Sale: Images are not to scale. All books are returnable within ten days if returned in the same condition as sent. Books may be reserved by telephone, fax, or email. All items subject to prior sale. Payment should accompany order if you are unknown to us. Customers known to us will be invoiced with payment due in 30 days. Payment schedule may be adjusted for larger purchases. Institutions will be billed to meet their requirements. We accept checks, VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and PayPal. Gift certificates available. Domestic orders from this catalog will be shipped gratis via UPS Ground or USPS Priority Mail; expedited and overseas orders will be sent at cost. All items insured. NJ residents please add 7% sales tax. Member ABAA, ILAB. Artwork by Tom Bloom. © 2011 Between the Covers Rare Books, Inc. www.betweenthecovers.com After 171 catalogs, we’ve finally gotten around to a staple of the same). This is not one of them, nor does it pretend to be. bookselling industry, the “First Books” catalog. But we decided to give Rather, it is an assemblage of current inventory with an eye toward it a new twist... examining the question, “Where does an author’s career begin?” In the The collecting sub-genre of authors’ first books, a time-honored following pages we have tried to juxtapose first books with more obscure tradition, is complicated by taxonomic problems – what constitutes an (and usually very inexpensive), pre-first book material. -
Celebrating Twenty-Five Years of Fine Writers H
Celebrating Twenty-Five Years of Fine Writers h Sherman Alexie 3/27 Jon Meacham 9/12 A. S. Byatt 11/12 Belle Boggs 1/16 James Dodson 10/14 Isabel Wilkerson 2/20 Martin Marty 9/13 Lou Berney 11/21 Junot Diaz 10/16 Joseph Bathanti 3/6 Mary Pope Osborne 4/5 VisitingWriters.LR.edu A Note from the Director s a visual artist, photographer, 2013–2014 VisitiNG and filmmaker, I have learned that WRITERS SERIES n our experience with the Visiting Writers Series, luck we foster communication when we STEERING COMMITTEE is not just random chance. It is an act of generosity from bring our stories together. When people who care about making a positive impact on the we take the time to read, to dare Chair SALLY FANJOY culture and emotional well-being of our community. The to be present with our neigh - Series Director RAND BRANDES gifts that we have received have made us feel very lucky bors, and to listen to differing Series Consultant LISA HART Iover the past twenty-five years. We were lucky that when we points of view, we are en - Student Asst. ABIGAIL MCREA presented the initial idea to start the Series to Dr. Robert riched and enlightened. Student Asst. MADISON TURNER Luckey Spuller, then Dean of Lenoir-Rhyne “College,” that We are transformed by fresh thoughts and new TONY ABBOTT he saw its potential and supported it the first year and for Aperspectives. ¶ The Lenoir-Rhyne Visiting Writers MARY HELEN CLINE years to come. We were lucky that subsequent university Series engages a wide spectrum of the community, LAURA COSTELLO Administrations continued to see the value of the Series, promotes civic discourse, creates opportunity for SANDRA DEAL which enabled us to enhance the Series and the cultural and people to come together and to hear new ideas and MIKE DUGAN educational experiences of our students. -
Rendering Rhythm and Motion in the Art of Black Mountain College
A Lasting Imprint Rendering Rhythm and Motion in the Art of Black Mountain College Movement and music—both time-based activities—can be difficult to express in static media such as painting, drawing, and photography, yet many visual artists feel called to explore them. Some are driven to devise new techniques or new combinations of media in order to capture or suggest movement. Similarly, some visual artists utilize elements found in music—rhythms, patterns, repetitions, and variations—to endow their compositions with new expressive potency. In few places did movement, music, visual arts, and myriad other disciplines intermingle with such profound effect as they did at Black Mountain College (BMC), an experiment in higher education in the mountains of Western North Carolina that existed from 1933 to 1957. For many artists, their introduction to interdisciplinarity at the college resulted in a continued curiosity around those ideas throughout their careers. The works in the exhibition, selected from the Asheville Art Museum’s Black Mountain College Collection, highlight approaches to rendering a lasting imprint of the ephemeral. Artists such as Barbara Morgan and Clemens Kalischer seek to capture the motion of the human form, evoking a sense of elongated or contracted muscles, or of limbs moving through space. Others, like Lorna Blaine Halper or Sewell Sillman, approach the challenge through abstraction, foregoing representation yet communicating an atmosphere of dynamic change. Marianne Preger-Simon’s drawings of her fellow dancers at BMC from summer 1953 are not only portraits but also a dance of pencil on paper, created in the spirit of BMC professor Josef Albers’s line studies as she simultaneously worked with choreographer Merce Cunningham. -
Resisting Diaspora and Transnational Definitions in Monique Truong's the Book of Salt, Peter Bacho's Cebu, and Other Fiction
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Spring 5-5-2012 Resisting Diaspora and Transnational Definitions in Monique Truong's the Book of Salt, Peter Bacho's Cebu, and Other Fiction Debora Stefani Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Stefani, Debora, "Resisting Diaspora and Transnational Definitions in Monique ruong'T s the Book of Salt, Peter Bacho's Cebu, and Other Fiction." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/81 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. RESISTING DIASPORA AND TRANSNATIONAL DEFINITIONS IN MONIQUE TRUONG’S THE BOOK OF SALT, PETER BACHO’S CEBU, AND OTHER FICTION by DEBORA STEFANI Under the Direction of Ian Almond and Pearl McHaney ABSTRACT Even if their presence is only temporary, diasporic individuals are bound to disrupt the existing order of the pre-structured communities they enter. Plenty of scholars have written on how identity is constructed; I investigate the power relations that form when components such as ethnicity, gender, sexuality, religion, class, and language intersect in diasporic and transnational movements. How does sexuality operate on ethnicity so as to cause an existential crisis? How does religion function both to reinforce and to hide one’s ethnic identity? Diasporic subjects participate in the resignification of their identity not only because they encounter (semi)-alien, socio-economic and cultural environments but also because components of their identity mentioned above realign along different trajectories, and this realignment undoubtedly affects the way they interact in the new environment. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 I
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced info the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on untii complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Charlotte Lit 2019-20 Catalog V3.Indd
Commit to Your Craft. COURSECHARLOTTECATALOG CENTER FOR LITERARY ARTS, INC. More than 40 classes from great Charlotte writing teachers, plus visits from NC Poet Laureate Jaki Shelton Green, Beth Ann Fennelly, Lola Haskins, Jennifer Chang, and Wiley Cash! 2019 2020 Commit to Your Craft Plan your learning year now! Advance registration helps Lit & earns you an early bird discount elcome, Lit fans, to our 2019-20 catalog. Inside: an incredible lineup of more Wthan 40 classes taught by some of the best instructors anywhere, including Charlotte favorites plus visits from Beth Ann Fennelly, Wiley Cash, Jennifer Chang, Lola Haskins, and NC Poet Laureate Jaki Shelton Green. Committing to Charlotte Lit = Committing to Your Craft Plan your learning year today and register by September 15 to help both yourself and Charlotte Lit. You're more likely to take the classes you want if you put them on your calendar now—and you'll get 10 percent off for doing so. Plus, your early registration helps assure that every class will run. (We need six registrations to run a class.) So, make your commitment now—to Charlotte Lit and to your craft. Thanks! See you soon, Kathie Collins & Paul Reali, Co-Founders HOW TO SELECT AND SIGN UP: 3 EASY STEPS 1. BROWSE THIS CATALOG to fi nd the classes you want. Classes are listed in chronological order, with special events and offerings described on separate pages. 2. CONSIDER BECOMING A MEMBER to support and save. Charlotte Lit is a member-supported 501(c)(3) nonprofi t. Your membership dues keep us running, so please consider joining. -
KES Ken Loach
HOMMAGE KES KES Ken Loach Der 14-jährige Billy Casper lebt in der nordenglischen Bergwerksstadt Großbritannien 1969 Barnsley. Von seiner geschiedenen Mutter wird er vernachlässigt, vom 113 Min. · DCP · Farbe großen Bruder terrorisiert, von sadistischen Lehrern gedemütigt und von Klassenrowdys getriezt. Trost findet der schmächtige Einzelgän- Regie Ken Loach ger allein in der Aufzucht eines jungen Falken, den er selbst aus dem Buch Barry Hines, Ken Loach, Tony Garnett, nach dem Roman „A Kestrel for Horst geholt und „Kes“ getauft hat. Hingebungsvoll trainiert der Jun- a Knave“ von Barry Hines ge das Tier, bis eines Tages der Bruder für eine vermeintliche „Verfeh- Kamera Chris Menges of SixteenCourtesy Films lung“ grausam Rache an Billy nimmt … „Fact and Fiction“ steht an der Schnitt Roy Watts Schultafel, als Billys verständnisvoller Englischlehrer den sonst so ver- „Die Arbeiten von Regisseuren wie Miloš Musik John Cameron Forman, Jiří Menzel und anderen aus den schlossenen Jungen dazu bringt, lebhaft von seinem Falken zu berich- Ton Tony Jackson, Gerry Humphreys sechziger Jahren wurden von uns immer als ten. Programmatisch für Ken Loachs späteres Werk verbindet KES das Tonschnitt Peter Pierce sehr menschliche und einfühlsame Filme sensible Porträt eines Heranwachsenden mit der detaillierten Zeich- Art Director William McCrow verstanden. Dabei waren sie in keiner Weise nung kleinstädtisch-proletarischer Lebensverhältnisse. Von Filmen der Kostüm Daphne Dare weich, sondern besaßen einen scharfen, tschechischen „Neuen Welle“ beeinflusst, entwickelten Loach und sein Produzent Tony Garnett ironischen Witz. Manchmal konnten sie Kameramann Chris Menges einen Stil der distanzierten, dabei jedoch Darsteller ziemlich wild werden, doch sie verloren dabei einfühlsamen Beobachtung, in deren Verlauf die Kamera spontan auf nie ihre ausgeprägte humanistische Ader – das David Bradley (Billy) das Geschehen reagieren konnte. -
2019 Annual Report
2019 ANNUAL REPORT Dear Friends, This has been another year of unparalleled exhibitions and performances, a celebration of what’s possible in our new home and with the support of our community. At the beginning of 2019, we were in the last few weeks of the inaugural exhibition at 120 College Street, Between Form and Content: Perspectives on Jacob Lawrence and Black Mountain College, which was a major accomplishment in its scope and its expansion of community partnerships. Next, we presented an intimate look at the school’s political dimensions, both internal and external, through the exhibition Politics at Black Mountain College. During the same time period, the exhibition Aaron Siskind: A Painter’s Photographer and Works on Paper by BMC Artists revealed the photographer’s elegant approach to abstraction alongside works by others in his circle of influence. From June through August, our galleries filled with sound as part of Materials, Sounds + Black Mountain College, an exploration of contemporary experimental and material-based processes rooted in theories and practices developed at Black Mountain College. We closed out the year with VanDerBeek + VanDerBeek, an exhibition that bridges the historic and contemporary through an intergenerational artistic conversation. 2019 also marked the 100th birthday of Merce Cunningham, and 100 years since the founding of the Bauhaus, which closed in the same year Black Mountain College opened, seeding the latter with its faculty and utopian values. Both centennials sparked global celebrations, transcending geographic and disciplinary boundaries to honor the impact of courageous communities and collaborators. Image credit: Come Hear NC (NCDNCR) | Ken Fitch We joined the world in these celebrations through a special installation of historic dance films of the Cunningham Dance Company at this year’s {Re}HAPPENING, the exhibition BAUHAUS 100, and a virtual reality exploration of the Bauhaus Dessau building, on loan from the Goethe- Institut. -
Participating Poets and Facilitators
Participating Poets and Facilitators James Applewhite is the author of a dozen books of poetry, most recently, Cosmos (LSU, 2014), and his poems have appeared in American and English journals including, Poetry, Harper’s, Esquire, American Poetry Review, and The Atlantic Monthly and many anthologies, including volumes edited by Harold Bloom and Czeslaw Milosz. Applewhite was inducted into the North Carolina Literary Hall of Fame in 2008 and is emeritus professor of English at Duke University. He has received numerous awards, including the Jean Stein Award in Poetry from the American Academy and Institute of Arts and Letters, the Associated Writing Programs Contemporary Poetry Prize, a Guggenheim Fellowship in Poetry, and the North Carolina Award in Literature. Over his career at UNC-CH, Laurence Avery concentrated on scholarly work, with much teaching and many administrative duties as well. His teaching always included British and American poetry, and in the 1990s he began publishing his own poems in magazines around the country. Now in retirement, he discovers that he spends much of his productive time working on poems. His first book of poems, Mountain Gravity, was published in the spring of 2014. Pam Baggett’s poems appear in The Atlanta Review, Crab Orchard Review, The Sow's Ear, and the Barefoot Muse Press anthology Forgetting Home: Poems About Alzheimers. Work is forthcoming in Kakalak, The Southern Poetry Anthology, Volume VII: North Carolina, and an anthology about home from Main Street Rag tentatively titled Creatures of Habitat. Pam is a freelance writer and the author/photographer of the garden book ¡Tropicalismo! (Timber Press). -
NCPS Spring 03 V3
NC Poetry Society Spring 2003 Spring meeting Pinesong Saturday, May 17 Weymouth Center, Southern Pines Debut Edition 9:15 Registration, and pay for lunch by Rebecca J. Mitchell Please make time to express to them, their parents, and teachers the recog- Imagine a day when first-time and 10:00 Business meeting, installation nition they deserve. of 2003 officers (see p. 6) well-seasoned poets alike come to- gether in a magnificent setting to read Lunch 10:15 Pinesong dedication their work. May 17 is the NCPS An- A catered lunch (see p. 2), for those nual Awards Day at the Weymouth who have made reservations, will be Center for the Arts & Humanities in served at noon. Or you may bring 10:30 Poet Laureate, McDill, Southern Pines, a celebration to honor your own. Lunch is a good time to and student contest awards winners in a variety of categories— check out the book room and the nine adult and five student contests. journal swap, browse the Weymouth Noon Box lunch ($8.50, see p. 2) Awards Day is traditionally the high- gardens and sit a few moments on or bring your own light of the year and this year is par- the new Gladys Owings Hughes me- ticularly notable with the debut edi- morial bench. The afternoon session tion of Pinesong (see p. 9). Each win- will be a presentation of the remain- 1:15 Adult contest awards ner will receive one copy, along with ing adult awards. Plan to come and a certificate of recognition, and with be a part of this special day.