Bøger udgivet af Louisiana State University Press

Mary E. Wilkins Freeman (1852-1930) was one of the most popular American writers at the turn of the twentieth century, and her annual Christmas stories appeared in magazines and periodicals across the globe. Since then, the extraordinary stories that once delighted her legions of fans every festive season have gone largely out of print and unread. Now, for the first time, The Last Gift presents a collection of Freeman's best Christmas writing, introducing these funny, poignant, provocative, and surprisingly timely holiday tales to a new generation of readers.

In The Sentence, Morri Creech interrogates our daily lives and experiences to examine the anxieties and despair that often attend our awareness of mortality. Through a variety of subjects, and through styles ranging from rhyme and meter to prose poetry, he takes an unflinching look at what it means to live in the shadow of the end, the common fate to which each of us is sentenced.

The Dirty South examines the shifting significances of the South as a constructed, fantasized region in the American psyche, particularly its frequent association with tropes of dirt that emphasize soil, garbage, trash, grit, litter, mud, swamp water, slime, and pollution. Beginning with iconic works from the 1970s such as Deliverance and The Texas Chainsaw Massacre, James A. Crank traces the image of a "dirty" South into the twenty-first century to explore the social, political, and psychological effects of the region's hold on the imaginations of southerners and nonsoutherners alike. With a focus on media forms through which southern identity gets articulated and questioned--including horror movies, Swamp Thing comics, and popular music by artists such as Waylon Jennings and OutKast--The Dirty South probes the sustained fascination with southern dirtiness while reflecting on its causes and consequences since the end of the civil rights era. Highlighting the period from 1970 to 2020, during which the South began to represent several new possible identities for the nation as a whole and for the area itself, Crank considers the ways that southerners have used depictions of dirt to create and police boundaries and to contest those boundaries. Each chapter pairs prominent literary or cultural texts from the 1970s with more contemporary works, such as Jordan Peele's film Get Out, which recycle similar investments or, critically, challenge the inherent whiteness of the earlier images. By historicizing fantasies of the region and connecting them to the first decades of the twenty-first century, The Dirty South reveals that notions about southern dirtiness proliferate not because they lend authenticity or relevancy to the U.S. South, but because they aid so conspicuously in the zombified work of tethering investors (real and imagined) to a graveyard of ideas.

Though it ended more than thirty years ago, the Cold War still casts a long shadow over American society. Red Reckoning examines how the great ideological conflict of the twentieth century transformed the nation and forced Americans to reconsider almost every aspect of their society, culture, and identity. Using an interdisciplinary approach, the volume's contributors examine a broad array of topics, including the Cold War's impact on national security, race relations, gun culture and masculinity, law, college football, advertising, music, film, free speech, religion, and even board games. Above all, Red Reckoning brings a vitally important era back to life for those who lived through it and for students and scholars wishing to understand it.

For two centuries, nearly all historical accounts of American theatre have focused on New York, Boston, and Philadelphia. As a result, the story of theatre on the frontier consists primarily of regional studies with limited scope. Thomas A. Bogar's Theatre on the American Frontier provides an overdue, balanced treatment of the accomplishments of the troupes working in the trans-Appalachian West. From its origins in late eighteenth-century Pittsburgh, New Orleans, and Louisville, frontier theatre grew by the close of the nineteenth century to encompass more than a dozen centers of vibrant theatrical activity. Audiences--mainly pioneers struggling with the hardships of establishing a life in the backcountry--enjoyed thrilling melodramas, the comedies of George Colman the Younger and John O'Keeffe, and even the tragedies of William Shakespeare. Theatre companies that ventured into this challenging and unfamiliar territory did so with a combination of daring and determination. Bogar's comprehensive study brings this neglected history into the spotlight, cementing these figures and their theatrical productions and practices in their rightful place.

Nowhere in the United States did the Age of Democratic Revolution exert as profound an influence as in New Orleans. In 1809-10, refugees of the Haitian Revolution doubled the size of the city. In 1811, hundreds of Saint-Dominguan, African, and Louisianan plantation workers marched downriver toward the city in the nation's largest-ever slave revolt. Itinerant revolutionaries from throughout the Atlantic congregated in New Orleans in the cause of Latin American independence. Together with the refugee soldiers of the Haitian Revolution (both Black and white), their presence proved decisive in the Battle of New Orleans. After defeating the British, the soldiers rejoined the struggle against Spanish imperialism. In Creole New Orleans in the Revolutionary Atlantic, 1775-1877, Caryn Cossé Bell sets forth these momentous events and much more to document the revolutionary era's impact on the city. Bell's study begins with the 1883 memoir of Hélène d'Aquin Allain, a French Creole and descendant of the refugee community, who grew up in antebellum New Orleans. Allain's d'Aquin forebears fought alongside the Savarys, a politically influential free family of color, in the Haitian Revolution. Forced from Saint-Domingue/Haiti, the allied families retreated to New Orleans. Bell's reconstruction of the d'Aquin family network, interracial alliances, and business partnerships provides a productive framework for exploring the city's presence at the crossroads of the revolutionary Atlantic. Residing in New Orleans in the heyday of French Romanticism, Allain experienced a cultural revolution that exerted an enormous influence on religious beliefs, literature, politics, and even, as Bell documents, the practice of medicine in the city. In France, the highly politicized nature of the movement culminated in the 1848 French Revolution with its abolition of slavery and enfranchisement of freed men and women. During the Civil War and Reconstruction, the Afro-Creole leaders of the diasporic community pointed to events in France and stood in the forefront of the struggle to revolutionize race relations in their own nation. As Bell demonstrates, their cultural and political legacy remains a formidable presence in twenty-first-century New Orleans.

Drawing on a cast of famous and obscure figures from Frederick Douglass to Moncure Conway, Frank Cirillo's The Abolitionist Civil War explores how antislavery reformers contorted their arguments and clashed with each other as they laboured over the course of the conflict to create a more perfect Union.

In the early modern British Atlantic world, the comparison of enslaved people to animals, particularly dogs, cattle, or horses, was a common device used by enslavers to dehumanize and otherwise reduce the existence of the enslaved. Letters, memoirs, and philosophical treatises of the enslaved and formerly enslaved bear testament to the methods used to dehumanize them. In Empire of Brutality, Christopher Michael Blakley explores how material relationships between enslaved people and animals bolstered the intellectual dehumanization of the enslaved. By reconsidering dehumanization in the light of human-animal relations, Blakley offers new insights into the horrific institution later challenged by Black intellectuals in multiple ways. Using the correspondence of the Royal African Company, specimen catalogs and scientific papers of the Royal Society, plantation inventories and manuals, and diaries kept by slaveholders, Blakley describes human-animal networks spanning from Britain's slave castles and outposts throughout western Africa to plantations in the Caribbean and American Southeast. They combine approaches from environmental history, history of science, and philosophy to examine slavery from the ground up and from the perspectives of the enslaved. Blakley's work reveals how African captives who became commodified through exchanges of cowry sea snails between slavers in the Bight of Benin later went on to collect zoological specimens in Barbados and Virginia for institutions such as the Royal Society. On plantations, where enslaved people labored alongside cattle, donkeys, horses, and other animals to make the agricultural fortunes of slaveholders, Blakley shows how the enslaved resisted these human-animal pairings by stealing animals for their own purposes--such as fugitives who escaped their slaveholder's grasp by riding stolen horses. Because of experiences like these, writers and thinkers of African descent who survived slavery later attacked the institution in public as fundamentally dehumanizing, one that corrupted the humanity of both slaveholders and the enslaved.

The poems in The Gentle Art, a compelling new collection from William Wenthe, move between the life of the painter James McNeill Whistler and a poetic version of the author, who is at once inspired and disturbed by Whistler. The present-day author sheds light on Whistler's artistic vocation and the beauty of his paintings, most notably the liminal London riverscapes that he named Nocturnes, yet recoils at the cost of Whistler's devotion to art: lovers abandoned, friends turned into enemies, his own children given away to adoption. Creating a kind of dual biography, Wenthe grapples with feelings of admiration and disaffection toward Whistler as he tries to perform his own roles as parent, partner, and poet. While some of the poems are narrative, their overall effect is associative--two lives superimposed in a double exposure, with attention to what the contrast of two centuries, the nineteenth and the twenty-first, reveals about the relationship of art to money, class, and politics.

Provides a comprehensive analysis of crimes of violence in the US from the 1880s to the 1930s. Combining the theoretical perspectives and methodological rigour of criminology with a synthesis of historical scholarship as well as original research and analysis, Barry Latzer challenges conventional thinking about violent crime of this era.

Recounts the season that shaped John James Audubon's destiny, sorting facts from romance to give an intimate view of the world's most famous bird artist. A new preface marks the two hundredth anniversary of that eventful interlude, reflecting on Audubon's enduring legacy among artists, aesthetes, and nature lovers.

Offers a rare primary document from an important moment in history: the Spanish War of Independence, which culminated in the expulsion of France from the Iberian Peninsula in 1814. Fernando Blanco White's diary offers personal insights into how people in Europe and across its global empires coped with profound transformations.

Never in human history has travel been so accessible to so many. But--amid an escalating climate crisis that threatens the homes of vulnerable people across the world--has the human cost of trekking the globe become too high? Paul Lindholdt links firsthand narratives with research about the travel trade, telling stories of his reluctant voyages while arguing that carbon-intensive trips abroad may be offset if adventurers come to know and love the landscapes closer to home. Tourism may be the planet's largest industry, but Interrogating Travel advises readers to stay mindful of the consequences of their journeys, whether visiting local getaways or some of Earth's most remote locations.

A Girl's Life in New Orleans presents the diary of Ella Grunewald, an upper-middle-class teenager in New Orleans at the end of the nineteenth century. Grunewald, the daughter of one of the Crescent City's leading music dealers, used her journal to record the major events of her day-to-day life, documenting family, friendships, schooling, musical education, and social activities. Her entries frequently describe illness, death, and other tragedies. Though attentive to the city's classical music scene, Grunewald also recounts theater shows, Carnival balls and parades, Catholic religious observances, and the World's Fair that the city hosted in 1884. Expertly annotated and introduced by Hans Rasmussen, Grunewald's journal is a rare window on the life of a young woman in the South between 1884 and 1886. Adding depth to that account, Rasmussen includes a shorter journal Grunewald kept of her family's travels in Italy and Germany in the spring of 1890. In it, she describes visits to Catholic churches, museums, Roman ruins, and other tourist attractions. Tragically, Grunewald contracted malaria during the latter part of the journey and died overseas at age twenty-two.

In Echo and Critique, Florian Gargaillo skillfully charts the ways that poets have responded to the clichés of public speech from the start of the Second World War to the present. Beginning around 1939, many public intellectuals on both sides of the Atlantic lamented that the political lexicon had become saturated with bureaucratic stock phrases such as "the fight for freedom," "revenue enhancement," and "service the target," designed for the mass media and used to euphemize, obfuscate, and evade. Instead of ridding their writing of such language, many poets parroted these tropes as a means of exploring the implications of such expressions, weighing their effects, and identifying the realities they distort and suppress. With its attentiveness to linguistic particulars, poetry proved especially well-suited to this innovative mode of close listening and intertextual commentary. At the same time, postwar poets recognized their own susceptibility to dead language, so that co-opting political clichés obliged them to scrutinize their writing and accept the inevitability of cant while simultaneously pushing against it. This innovative study blends close readings with historical context as it traces the development of echo and critique in the work of seven poets who expertly deployed the method throughout their careers: W. H. Auden, Randall Jarrell, Langston Hughes, Claude McKay, Robert Lowell, Josephine Miles, and Seamus Heaney. Gargaillo's analysis reveals that poetry can encourage us to listen diligently and critically to the insincerity ubiquitous in public discourse.

In Ruin and Resilience, Daniel Spoth confronts why the environmental stories told about the U.S. South curve inevitably toward distressing plotlines. Examining more than a dozen works of postbellum literature and cinema, Spoth's analysis winds from John Muir's walking journey across the war-torn South, through the troubling of southern environmentalism's modernity by Faulkner and Hurston, past the accounts of its acceleration in Welty and O'Connor, and finally into the present, uncovering how the tragic econarrative is transformed by contemporary food studies, climate fiction, and speculative tales inspired by the region. Phrased as a reaction to the rising temperatures and swelling sea levels in the South, Ruin and Resilience conceptualizes an environmental, ecocritical ethos for the southern United States that takes account of its fundamentally vulnerable status and navigates the space between its reactionary politics and its ecological failures.

A Scar Where Goodbyes Are Written is a bilingual anthology of poetry written by fifteen Venezuelan poets who are currently residing in Chile. Edited and translated by David M. Brunson, the volume encompasses the work of young poets coming from many different circumstances. Some have already published several books, while others have just begun their careers as writers. The vast majority of the original Spanish texts appeared in books, anthologies, and magazines across Chile, Venezuela, and elsewhere in the Hispanosphere. In recent years, more than six million people have fled Venezuela in one of the world's largest mass migrations, stemming in part from an ongoing humanitarian crisis caused by the country's backsliding into authoritarianism, brutal political repression, corruption, food and medical shortages, violent crime, hyperinflation, and the mismanagement of Venezuela's natural and financial resources, first by Hugo Chávez and presently by Nicolás Maduro. Begun during Brunson's travels in Chile amid the 2019-2020 protest movement, this dual-language collection aims to elevate the individual voices of each migrant poet, to connect them with new readers, and to enrich the body of literature available in English.

A book-length sequence of poems, Matthew Thorburn's String tells the story of a teenage boy's experiences in a time of war and its aftermath. He loses his family and friends, his home and the life he knew, but survives to tell his story. Written in the boy's fractured, echoing voice--in lines that are frequently enjambed and use almost no punctuation--String embodies his trauma and confusion in a poetic sequence that is part lullaby, part nightmare, but always a music that is uniquely his.

Jenny Molberg's third collection of poetry, The Court of No Record, serves as both evidence and testimony against a legal system that often fails victims of physical trauma and domestic abuse. Drawing inspiration from true crime investigations and artifacts, including Frances Glessner Lee's crime scene dioramas and the tragic aftermaths of two serial killers who preyed upon women in Baton Rouge, Louisiana, Molberg probes a cultural obsession with violence that performs active erasure of victims' lives. By engaging with historical texts through a personal lens, she sheds light on survivors who do not find justice and looks toward a future of positive systemic reformation.

David G. Haglund's Sister Republics tells the story of the unique relationship between the United States and its first ally, France. Historians and political scientists have characterized interactions between the two countries in the spheres of security and defense policy in radically different ways: either the two comport themselves in a highly cooperative fashion, befitting their status as old allies and steadfast friends, or they act as bitter rivals, revealing their alliance to be at best dysfunctional and at worst destructive. Haglund uses a fresh approach to reconcile these divergent positions, examining the Franco-American bond through the prism of strategic culture. In doing so, he reveals the cultural factors that have contributed to the suboptimal relationship between the two nations.

Popular entertainment in antebellum Cincinnati ran the gamut from high culture to shows barely above the level of the tawdry. Among the options for those seeking entertainment in the summer of 1856 was the display of a "Wild Woman," purportedly a young woman captured while living a feral life beyond the frontier. The popular exhibit, which featured a silent, underdressed woman chained to a bed, was almost assuredly a hoax. Local activist women, however, used their influence to prompt a judge to investigate the display. The court employed eleven doctors, who forcibly subdued and examined the woman before advising that she be admitted to an insane asylum. In his riveting analysis of this remarkable episode in antebellum American history, Michael D. Pierson describes how people in different political parties and sections of the country reacted to the exhibit. Specifically, he uses the lens of the Wild Woman display to explore the growing cultural divisions between the North and the South in 1856, especially the differing gender ideologies of the northern Republican Party and the more southern focused Democrats. In addition, Pierson shows how the treatment of the Wild Woman of Cincinnati prompted an increasing demand for women's political and social empowerment at a time when the country allowed for the display of a captive female without evidence that she had granted consent.

Moving effortlessly from Virginia to Italy and beyond, Ron Smith's new volume responds with a range of emotions from humor to horror and with a variety of forms from the sonnet to visually expressive organic shapes. The book's forty-three pieces gather themselves into three flights that hover above and touch down among the politics of memory and the psychology of beauty. With inspiration drawn from memoir, myth, history, fiction, and the visual arts, That Beauty in the Trees presents, ponders, and sometimes judges the actions, fates, and aesthetics of not only the author's friends and family but also legendary and historical figures, including Achilles, Catullus, George Washington, Edgar Allan Poe, H.D., Ezra Pound, and many more.

The reach of Divine Ratios is global, ranging from Tang Dynasty China and the Florentine Renaissance to contemporary Baltimore, post-World War II Berlin, and the landscapes of the Mountain West. The speed and mobility evoked in this new collection by Jacqueline Osherow are not only physical--a traveler's movement in a crowded, thrilling world--but imaginative, and its poetic idiom is no less varied, as a breezy conversational tone serves as a counterpoint to traditional form. With striking juxtapositions of natural and cultural wonders, this enrapturing volume asks, what is the right proportion--or "ratio"--for living in a world of such splendors, horrors, and possibilities?