Bøger udgivet af University of Virginia Press

A singular architectural landmark bridging western Europe and the American South How did the Belgian Friendship Building, originally constructed for the 1939 New York World's Fair--and one of only a few surviving buildings from that celebrated exhibition--end up on the campus of an HBCU in Richmond, Virginia? In this richly illustrated book, Kathleen James-Chakraborty, Katherine Kuenzli, and Bryan Clark Green relate the fascinating story, spanning three continents, of a distinctly modern structure that has towered over Virginia Union University, in a city characterized by its traditional architecture, for more than eighty years. It is a structure whose original purposes--to present modern Belgian design and to extol its racist, colonial regime--stand in stark contrast to its dedication in 1941 to Robert L. Vann, longtime editor of one of America's most illustrious historic Black newspapers. The Belgian Friendship Building is an enduring example of prewar modernism designed by a team of Belgian architects under the direction of Henry van de Velde that has until now been all but forgotten in histories of modern architecture. This indispensable, multifaceted account ties together the history of modern European architecture, colonial exploitation, and African American achievement in a brilliant and compelling case study.

"Explores how Wendell Berry, Carlo Petrini, and Alice Waters changed America's relationship with food over the past fifty years, weaving in stories of the author's experiences farming in Wisconsin, visiting food producers in Italy, and cooking in France in pursuit of his own "ideal meal." Considers what a sustainable food system might look like and the power of the written word to change our world for the better"--

<p><p>George S. Bernard was a Petersburg lawyer and member of the 12th Virginia Infantry Regiment during the Civil War. Over the course of his life, Bernard wrote extensively about his wartime experiences and collected accounts from other veterans. In 1892, he published <i>War Talks of Confederate Veterans,</i> a collection of firsthand accounts focusing on the battles and campaigns of the 12th Virginia that is widely read to this day. Bernard prepared a second volume but was never able to publish it. After his death in 1912, his papers became scattered or simply lost. But a series of finds, culminating with the discovery of a cache of papers in Roanoke in 2004, have made it possible to reconstruct a complete manuscript of the unpublished second volume.</p> <p>The resulting book, <i>Civil War Talks,</i> contains speeches, letters, Bernards wartime diary, and other firsthand accounts of the war not only by veterans of the Confederacy, such as General William Mahone, but by Union veterans as well. Their personal stories cover the major military campaigns in Virginia, Maryland, and Pennsylvania--Seven Pines, Malvern Hill, Gettysburg, Wilderness, Spotsylvania, Petersburg, and Appomattox. For the general reader, this volume offers evocative testimonies focusing on the experiences of individual soldiers. For scholars, it provides convenient access to many accounts that, until now, have not been widely available or have been simply unknown.</p></p>

A martial arts practitioner suggests there is a sense in which meditation may in turn be considered a form of combat, citing a variety of spiritual disciplines that employ the heavy use of martial images and categories as part of their self-description.

Although he has largely receded from the public consciousness, John Mitchell Jr., the editor and publisher of the Richmond Planet, was well known to many black, and not a few white, Americans in his day. A contemporary of Booker T. Washington, Mitchell contrasted sharply with Washington in temperament. In his career as an editor, politician, and businessman, Mitchell followed the trajectory of optimism, bitter disappointment, and retrenchment that characterized African American life in the Reconstruction and Jim Crow South. Best known for his crusade against lynching in the 1880s, Mitchell was also involved in a number of civil rights crusades that seem more contemporary to the 1950s and 1960s than the turn of that century. He led a boycott against segregated streetcars in 1904 and fought residential segregation in Richmond in 1911. His political career included eight years on the Richmond city council, which ended with disenfranchisement in 1896.As Jim Crow strengthened its hold on the South, Mitchell, like many African American leaders, turned to creating strong financial institutions within the black community. He became a bank president and urged Planet readers to comport themselves as gentlemen, but a year after he ran for governor in 1921, Mitchell's fortunes suffered a drastic reversal. His bank failed, and he was convicted of fraud and sentenced to three years in the state penitentiary. The conviction was overturned on technicalities, but the so-called reforms that allowed state regulation of black businesses had done their worst, and Mitchell died in poverty and some disgrace.Basing her portrait on thorough primary research conducted over several decades, Ann Field Alexander brings Mitchell to life in all his complexity and contradiction, a combative, resilient figure of protest and accommodation who epitomizes the African American experience in the late nineteenth and early twentieth centuries.

America's War for Independence dramatically affected the speed and nature of broader social, cultural, and political changes including those shaping the place and roles of women in society. Women fought the American Revolution in many ways, in a literal no less than a figurative sense. Whether Loyalist or Patriot, Indigenous or immigrant enslaved or slave-owning, going willingly into battle or responding when war came to their doorsteps, women participated in the conflict in complex and varied ways that reveal the critical distinctions and intersections of race, class, and allegiance that defined the era. This collection examines the impact of Revolutionary-era women on the outcomes of the war and its subsequent narrative tradition, from popular perception to academic treatment. The contributors show how women navigated a country at war, directly affected the war's result, and influenced the foundational historical record left in its wake. Engaging directly with that record, this volume's authors demonstrate the ways that the Revolution transformed women's place in America as it offered new opportunities but also imposed new limitations in the brave new world they helped create. Contributors: Jacqueline Beatty, York College * Carin Bloom, Historic Charleston Foundation * Todd W. Braisted, independent scholar * Benjamin L. Carp, Brooklyn College * Lauren Duval, University of Oklahoma * Steven Elliott, U.S. Army Center of Military History * Lorri Glover, Saint Louis University * Don N. Hagist, Journal of the American Revolution * Sean M. Heuvel, Christopher Newport University * Martha J. King, Papers of Thomas Jefferson * Barbara Alice Mann, University of Toledo * J. Patrick Mullins, Marquette University * Alisa Wade, California State University at Chico

Uncovering the history and examining the legacy of lynching in the state of Virginia Although not as associated with lynching as other southern states, Virginia has a tragically extensive history with these horrific crimes. This important volume examines the more than one hundred people who were lynched in Virginia between 1866 and 1932. Its diverse set of contributors--including scholars, journalists, activists, and students--recover this wider history of lynching in Virginia, interrogate its legacy, and spotlight contemporary efforts to commemorate the victims of racial terror across the commonwealth. Together, their essays represent a small part of the growing effort to come to terms with the role Virginia played in perpetuating America's national shame.

An indispensable collection of Buddhist devotional poems and songs Longing to Awaken features twenty-five translations of Buddhist devotional poems and songs composed by revered Tibetan masters from diverse traditions and time periods. The anthology invites readers to experience a variety of poetic forms that embody a range of emotions, from grief and longing to skepticism and humor, demonstrating the ways that poetry can inspire faith as well as reflect the profundity and at times fraught nature of the teacher-student relationship. This collection gives weight to literary--not simply literal--translation as a crucial endeavor in the transmission of Buddhism today, one with the potential to raise the profile of Tibetan poetry onto the stage of global literature. Featuring a remarkable interview with esteemed Tibetan master Jetsün Khandro Rinpoché to elucidate Buddhist devotion and a landmark essay by Lama Jabb articulating a Tibetan theory for translating poetry.

The singular role of Shabkar in the development of the idea of Tibet Shabkar (1781-1851), the "Singer of the Land of Snows," was a renowned yogi and poet who, through his autobiography and songs, developed a vision of Tibet as a Buddhist "imagined community." By incorporating vernacular literature, providing a narrative mapping of the Tibetan plateau, reviving and adapting the legend of Tibetans as Avalokiteśvara's chosen people, and promoting shared Buddhist values and practices, Shabkar's concept of Tibet opened up the discursive space for the articulation of modern forms of Tibetan nationalism. Employing analytical lenses of cultural nationalism and literary studies, Rachel Pang explores the indigenous epistemologies of identity, community, and territory that predate contemporary state-centric definitions of nation and nationalism in Tibet and provides the definitive treatment of this foundational figure.

Assessing a university's legacy in the age of segregation This anthology reckons with the University of Virginia's post-emancipation history of racial exploitation. Its fifteen essays highlight the many forms of marginalization and domination at Virginia's once all-white flagship university to uncover the patriarchal, nativist, and elitist assumptions that shaped university culture through the late nineteenth century and well into the twentieth. Including community responses ranging from personal reflections to interviews with local leaders to poems, this accessible volume will be essential reading for anyone with ties to UVA or to Charlottesville, as well as for anyone concerned with the legacy of slavery and segregation in America's universities.

When Americans describe their compatriots, who exactly are they talking about? This is the urgent question that Douglas Dowland asks in We, Us, and Them. In search of answers, he turns to narratives of American nationhood written since the Vietnam War--stories in which the ostensibly strong state of the Union has been turned increasingly into an America of us versus them. Dowland explores how a range of writers across the political spectrum, including Hunter S. Thompson, James Baldwin, and J. D. Vance, articulate a particular vision of America with such strong conviction that they undermine the unity of the country they claim to extol. We, Us, and Them pinpoints instances in which criticism leads to cynicism, rage leads to apathy, and a broad vision narrows in our present moment.

"This book examines the role of religion in the formation of Tibetan national identity through the impact of the autobiography of the renowned yogi Shabkar Tsokdruk Rangdrol"--

Frank Lloyd Wright designed and realized over 500 buildings between 1886 and 1959 for a wide range of clients. In Frank Lloyd Wright's Pope-Leighey House, architect Steven M. Reiss presents the updated and detailed story of one of Wright's few Virginia commissions. Designed and built for Loren and Charlotte Pope and later purchased by Marjorie and Robert Leighey, the Pope-Leighey House stands as a stunning example of an innovative form of shelter--which Wright called Usonian--for families beset by the Great Depression. Here, and elsewhere, Wright offered a unique and unprecedented approach for homes that would be small yet architecturally significant, carefully sited, and constructed of readily available local materials. He believed that anyone with an acre of land should have the opportunity to own a Usonian home.Set in Northern Virginia, the Pope-Leighey House has an unusual history in that it has been moved twice, first to the grounds of the National Trust's Woodlawn to rescue it from the path of Route 66 in Falls Church, then to re-site it to better correspond to its original orientation. Wright's mission was to remind us that "we need to see life in simpler terms." In this amply illustrated book, Reiss echoes Wright's reminder that small, carefully built structures should be the starting point of sustainable and environmentally responsible house design.

In 1925, Edwin A. Alderman, president of the University of Virginia, fulfilled a long-held dream by establishing a magazine at the institution founded by Thomas Jefferson just over one hundred years earlier. Not only did Alderman initiate publication of the Virginia Quarterly Review, he contributed an essay to its inaugural issue.Appearing as the first selection in this new volume of nonfiction from the VQR, Alderman's "Edgar Allan Poe and the University of Virginia" reflects the rare combination of literary sensibility and immersion in the political and social issues of the day, which has characterized the journal throughout its seventy-five-year history. As Alderman writes, "I may be frank and say that there was a time when Poe did not greatly appeal to me. I felt the sheer, clear beauty of his song..., but his detachment from the world of men, where my interests most centered, left me unresponsive and simply curious.... I have come, however, to see the limitations of that view, and to behold something admirable and strange and wonderful in this proud, gifted man."While the style and diction of the contributions have changed in the years since that first spring issue, a similar clarity of thought, deep intelligence, candor, and command of language can be found in every one of the fifty one essays assembled here by Alexander Burnham. From its home at One West Range, a few doors down from Poe's own room, the VQR has welcomed to its pages scholars such as Dumas Malone and Robert Coles, and writers whose books have become international bestsellers, including Arthur C. Clarke and Frances Mayes.Included here are some of the twentieth century's most brilliant thinkers and stylists, such international literary, political, and intellectual figures as Andre Gide, D. H. Lawrence, Aldous Huxley, Evelyn Waugh, T. S. Eliot, Eleanor Roosevelt, Thomas Mann, Jean-Paul Sartre, Bertrand Russell, and Robert Graves. George F. Kennan muses on "The Experience of Writing History," Henry Steele Commager asks "Do We Have a Class Society?," and Edmund S. Morgan considers the aloof character of George Washington. Carlos Baker tracks Ezra Pound through Venice, and Scott Donaldson ponders "The Jilting of Ernest Hemingway." These leading lights share space, as they do in every volume of the journal, with lesser-known but no less talented writers ruminating on the Battle of the Bulge, the Berlin Wall, the Bomb, and Vietnam, on growing up in Hollywood and living in Charlottesville, Virginia.Writers of the South are fittingly represented by Thomas Wolfe, Mary Lee Settle, and Louis D. Rubin Jr., but a quick scan of the table of contents reveals that the VQR has never been a regional magazine. As the current editor, Staige D. Blackford writes in his preface, "Since its inception, the Virginia Quarterly Review has tried to offer its readers a variety of essays on a variety of topics ranging from foreign affairs to domestic politics, from literature to travel, from sports to sex, from music to medicine."On the occasion of its seventy-fifth anniversary, We Write for Our Own Time amply and entertainingly reflects what the VQR's masthead has always proclaimed as its identity: "A National Journal of Literature and Discussion."

This innovative collection of essays participates in the ongoing debate about the epistolary form, challenging readers to rethink the traditional association between the letter and the private sphere. It also pushes the boundaries of that debate by having the contributors respond to each other within the volume, thus creating a critical community between covers that replicates the dialogic nature of epistolarity itself, with all its dissonances and differences as well as its connections.Focusing mainly on Anglo-American texts from the seventeenth century to the present day, these nine essays and their "postscripts" engage the relationship between epistolary texts and discourses of gender, class, politics, and commodification. Ranging from epistolary histories of Mary Queen of Scots to Turkish travelogues, from the making of the modern middle class and the correspondence of Melville and Hawthorne to new epistolary innovators such as Kathy Acker and Orlan, the contributions are divided into three parts: part 1 addresses the "feminocentric" focus of the letter; part 2, the boundaries between the fictional and the real; and part 3 the ways in which the epistolary genre may help us think more clearly about questions of critical address and discourse that have preoccupied theorists in recent years.In sum, Epistolary Histories is a defining contribution to epistolary studies.Contributors: Nancy Armstrong, Brown UniversityAnne L. Bower, Ohio State University, MarionClare Brant, King's College, LondonAmanda Gilroy, University of GroningenRichard Hardack, Haverford and Bryn Mawr CollegesLinda S. Kauffman, University of Maryland, College ParkDonna Landry, Wayne State UniversityGerald MacLean, Wayne State UniversityMartha Nell Smith, University of Maryland, College ParkW. M. Verhoeven, University of Groningen

For generations, Civil War historians have debated the causes of our great national conflict. They have argued about the centrality of slavery to disunion, the nature of master-slave relations in the Old South, and the impact of the war on postbellum race relations, politics, and culture. Slavery, Secession, and Southern History advances these and other debates by bringing together ten original interpretive essays by twelve prominent scholars.Perhaps no historian has had greater impact on the study of the antebellum South during the past quarter century than Eugene Genovese. The authors assembled for this volume engage, directly or indirectly, Genovese's work, reinforcing, revising, and challenging its central preoccupations. Reflecting interdisciplinary and comparative perspectives, the essays explore the problems of slavery and slave resistance; the origin of the task system in South Carolina; the economics of John C. Calhoun; the divergent mind of the Old South on states' rights; the revolutionary impact of the Civil War on gender, class, and race relations; Faulkner's misleading representation of southern health and physical well-being; and Mary Chesnut's treatments of African American women.The volume also contains as appendices an exhaustive compilation of Genovese's writings and a previously unpublished interview in which Genovese reflects on his own career as a historian and on the writing of history. Contributors: Douglas Ambrose, Hamilton CollegePeter A. Coclanis, University of North Carolina, Chapel HillDavid Brion Davis, Yale UniversityStanley L. Engerman, University of RochesterDrew Gilpin Faust, University of PennsylvaniaLouis A. Ferleger, Boston UniversityRobert W. Fogel, University of ChicagoThavolia Glymph, Penn State UniversityMark G. Malvasi, Randolph-Macon CollegeRobert L. Paquette, Hamilton CollegeRichard H. Steckel, Ohio State UniversityClyde N. Wilson, University of South Carolina

With The Row House in Washington, DC, the architectural historian and preservationist Alison Hoagland turns the lucid prose style and keen analytical skill that characterize all her scholarship to the subject of the Washington row house. Row houses have long been an important component of the housing stock of many major American cities, predominantly sheltering the middle classes comprising clerks, tradespeople, and artisans. In Washington, with its plethora of government workers, they are the dominant typology of the historical city. Hoagland identifies six principal row house types--two-room, L-shaped, three-room, English-basement, quadrant, and kitchen-forward--and documents their wide-ranging impact, as sources of income and statements of attainment as well as domiciles for nuclear families or boarders, homeowners or renters, long tenancy or short stays. Through restrictive covenants on some house sales, they also illustrate the pervasive racism that has haunted the city. This topical study demonstrates at once the distinctive character of the Washington row house and the many similarities it shares with row houses in other mid-Atlantic cities. In a broader sense, it also shows how urban dwellers responded to a challenging concatenation of spatial, regulatory, financial, and demographic limitations, providing a historical model for new, innovative designs.Publication of this volume was assisted by a grant from Furthermore: a program of the J. M. Kaplan Fund.

Since the eighteenth century, artists--especially so-called avant-garde artists--have played a conflicting role in society. Part of the reason for their complex position, argue Raphael Sassower and Louis Cicotello, is the survival of the culture of idolatry in the modern age. In the twentieth century, artists can criticize the worship of material things or they can produce the things themselves. They can paint the scenes of worship of the golden calf--as the German expressionist Emil Nolde did in "Dance Around the Golden Calf" (1910), in which garish exaggerations reflect a condemnation of materialistic culture--or they can be the ones fabricating the idol for a fee.Part radical critics, part celebrity servants of bourgeois tastes, avant-garde artists such as Marcel Duchamp, Rene Magritte, Andy Warhol, the Christos, and Keith Haring have captured the twentieth-century imagination and inspired the artistic community to reconsider its social, political, and cultural roles. Charting the uneasy middle ground occupied by these artists and their work, Sassower and Cicotello argue that their success has as much to do with their complicity with capitalist forces as it does with their defiance of them. Indeed, the major theme of The Golden Avant-Garde is the inability of any cultural subgroup to withstand the overwhelming power of capitalism, commercialism, and science and technology.While some artists are paid by governments and institutions to construct national and religious monuments that express and honor society's most valuable principles and goals, the same society has fabricated a romantic myth of artists as revolutionary heroes who defy the authorities and pay dearly for their passion and vision. The Golden Avant-Garde is a unique collaboration between a philosopher and an artist, who bring their different perspectives to bear on how the avant-garde navigates the cultural, financial, and technological challenges presented by this postmodern dilemma. Often, Sassower and Cicotello conclude, avant-garde artists have become adept at manipulating the same forces that they seek to exaggerate and articulate in their work.

As the existentialist philosophers of mid-twentieth-century Paris famously asserted, a life can only be assessed fully after it has ended. Fitting, then, that since her death in 1986, the philosopher and novelist Simone de Beauvoir has been the subject of numerous attempts to evaluate her contributions to intellectual thought. With the uncovering of her early diaries and the recent publication of her passionate letters to Nelson Algren, she has become more than a towering figure of twentieth-century feminism. She is at once an intensely human figure and a fertile field for application of various sexual constructs and for argument over feminist principles.Edited by Melanie C. Hawthorne, this volume brings into play a variety of fresh voices, from a Swedish novelist and advice columnist to an interdisciplinary theorist of decadence. The essays address the multitude of issues arising from the affective, personal, political, and sexual dimensions of Beauvoir's life and work. Fifty years after the publication of The Second Sex, Contingent Loves offers a wide-ranging discussion of the immeasurable impact Simone de Beauvoir has had on feminist discourse.Contents: - "Translation Effects: How Beauvoir Talks Sex in English," Luise Von Flotow, University of Ottawa - "Variations on Triangular Relationships," Serge Julienne-Caffie, Philadelphia, Pa. - "Lecon de Philo/Lesson in Love: Simone de Beauvoir's Intellectual Passion and the Mobilization of Desire," Melanie C. Hawthorne, Texas A&M University - "Sensuality and Brutality: Contradictions in Simone de Beauvoir's Writings about Sexuality," Asa Moberg, Sweden - "Simone de Beauvoir and Nelson Algren: Self-Creation, Self-Contradiction, and the Exotic, Erotic Feminist Other," Barbara Klaw, Northern Kentucky University - "Simone de Beauvoir on Henry de Montherlant: A Map of Misreading?" Richard J. Golsan, Texas A&M University - "'Le Prototype de la Fade Repetition': Beauvoir and Butler on the Work of Abjection in Repetitions and Reconfigurations of Gender," Liz Constable, University of California, Davis

TWO HUNDRED YEARS after Henry "Lighthorse Harry" Lee's funeral oration for George Washington, the eloquence of his words "first in war, first in peace, and first in the hearts of his countrymen" has caused most Americans to forget the clause that followed in which Lee located Washington's character firmly in his private life. George Washington: The Man behind the Myths redresses this historical imbalance in our image of Washington by examining our conceptions and misconceptions about him through a fascinating collection of documents and images.Washington's own accounts, observations by his contemporaries, narratives by the first generation of Washington biographers, decorative objects, and visual images, which were assembled for a major exhibition sponsored by the Virginia Historical Society, the Mount Vernon Ladies' Association, and Washington and Lee University, invite a fresh evaluation of Washington. William M. S. Rasmussen and Robert S. Tilton trace the ways in which Washington's origins in the peculiar colonial society of Virginia prepared him for success on the national stage. Chronologically arranged chapters examine Washington's early exposure to the wealthy Fairfax family, his command of the Virginia Regiment during the French and Indian War and later the Continental Army, his decision to attend the Constitutional Convention, and his two elections to the presidency. Rasmussen and Tilton argue that the major transitions we see in Washington's public image were made possible by the stability of his private life and his love of Mount Vernon.The image of Washington created by antebellum writers and artists after his death was intended to capture what he signified to the fledgling republic. This myth has survived largely because of its usefulness to our national culture. George Washington: The Man behind the Myths takes a crucial step in restoring our understanding of Washington as he actually was.

Visiting Britain in the mid-eighteenth century, Andre Rouquet wrote that "in England more than in any other country, every man would fain be his own architect." Not surprisingly, then, several of the most important eighteenth-century British authors were also practicing architects: John Vanbrugh, a playwright, designed Blenheim Palace; the poet Alexander Pope offered architectural drawings for redesigning the houses of friends; and Horace Walpole claimed that the home he renovated, Strawberry Hill, inspired his novel The Castle of Otranto. The work of John Milton and Thomas Gray also exhibits an abiding interest in architecture. By examining the connections between literature and architecture in the work of these writers and by viewing architecture in literary terms, Lee Morrissey traces a narrative of cultural change in the Augustan Age and beyond.A literary scholar with a strong background in architectural theory and practice, Morrissey examines architectural references made by these authors and architectural publications familiar to them. Each chapter establishes a connection with architecture in the careers of an author and then describes how a principal text -- Paradise Lost, The Provok'd Wife, An Essay on Man, Elegy Written in a Country Churchyard, and The Castle of Otranto -- focuses the literary and historical issues of the period in architectural terms.While some twentieth-century architectural theorists have worried that treating architecture in literary terms robs it of its social function, Morrissey argues that architecture can be a language and still participate in political and social contexts, because language itself is political and social. The fruit of hisargument is a unique intellectual history of late seventeenth- and eighteenth-century Britain that will engage scholars of architectural history and landscape architecture as well as of literature.

On the day Fort Sumter surrendered to Confederate authorities, General Braxton Bragg reacted to a newspaper report that might have revealed the position of gun emplacements by placing the correspondent, a Southern loyalist, under arrest. Thus the Confederate army's first detention of a citizen occurred before President Lincoln had even called out troops to suppress the rebellion. During the civil war that followed, not a day would pass when Confederate military prisons did not contain political prisoners.Based on the discovery of records of over four thousand of these prisoners, Mark E. Neely Jr.'s new book undermines the common understanding that Jefferson Davis and the Confederates were scrupulous in their respect for constitutional rights while Lincoln and the Unionists regularly violated the rights of dissenters. Neely reveals for the first time the extent of repression of Unionists and other civilians in the Confederacy, and uncovers and marshals convincing evidence that Southerners were as ready as their Northern counterparts to give up civil liberties in response to the real or imagined threats of wartime.From the onset of hostilities, the exploits of drunken recruits prompted communities from Selma to Lynchburg to beg the Richmond government to impose martial law. Southern citizens resigned themselves to a passport system for domestic travel similar to the system of passes imposed on enslaved and free blacks before the war. These restrictive measures made commerce difficult and constrained religious activity. As one Virginian complained, "This struggle was begun in defence of Constitutional Liberty which we could not get in the United States." The Davis administration countered that the passport system was essential to prevent desertion from the army, and most Southerners accepted the passports as a necessary inconvenience, ignoring the irony that the necessities of national mobilization had changed their government from a states'-rights confederacy to a powerful, centralized authority.After the war the records of men imprisoned by this authority were lost through a combination of happenstance and deliberate obfuscation. Their discovery and subtle interpretation by a Pulitzer Prize&emdash;winning historian explodes one of the remaining myths of Lost Cause historiography, revealing Jefferson Davis as a calculated manipulator of the symbols of liberty.

Queens, by definition, embody a historical contradiction between femininity and power. Queen Victoria, whose strength and longevity defined an age, possessed immense cultural as well as political power, even becoming a writer herself.This cultural sovereignty, argues Gail Turley Houston, in the hands of a female monarch troubled writers, especially men, who worked during a reign that viewed women as domestic angels. By exploring a wide range of representations of the queen by significant Victorian writers, Houston points out the complexity of Victorian constructions of gender, representation, authority, and identity. She works to demystify such canonized authors as Charles Dickens, Elizabeth Barrett Browning, and Margaret Oliphant by examining the ways they encounter Victoria in their writings. The queen's feminine power seems to be at odds with the masculine profession of author, which was also coming to be viewed as a significant representative of the culture.Part of the recent movement by feminist scholars to recuperate and analyze Queen Victoria's important meanings in nineteenth-century British culture, Royalties dissects the anomaly of the queen and her effect on dominant cultural attitudes about gender.

In a February 1966 letter to her artistic confidant, Robert Lowell, Elizabeth Bishop tellingly grouped four midcentury poets: Lowell, Randall Jarrell, John Berryman, and herself. For Bishop--always wary of being pigeonholed and therefore reticent about naming her favorite contemporaries--it was a rare explicit acknowledgment of an informal but enduring artistic circle that has evaded the notice of literary journalists for more than forty years. Despite the private nature of their dialogue, the group's members--Bishop, Lowell, Jarrell, and Berryman--left a compelling record of their mutual interchange and influence. Drawing on an extensive range of published and archival sources, Thomas Travisano traces these poets' creation of a surprisingly coherent postmodern aesthetic and defines its continuing influence on American poetry.The refusal of this "midcentury quartet," as Travisano calls them, to voice a formalized doctrine, coupled with their intuitive way of working, has caused critics to miss the coherence of their project. Travisano argues that these poets are not only successors to Pound, Auden, Stevens, and Eliot but postmodern explorers in their own right. In forging their own aesthetic, characterized here as a postmodern mode of elegy, they encountered significant resistance from their immediate modernist mentors Allen Tate, John Crowe Ransom, and Marianne Moore.Jarrell, whom others of the group regarded as a critic of particular genius, was first described as a post-modernist in a 1941 review by Ransom that Travisano cites as the earliest known use of the term. In Jarrell's review of Lowell's Lord Weary's Castle six years later, he named Lowell a postmodernist and identified traits, among them the use of pastiche, that are now considered by theorists such as Fredric Jameson as specifically postmodern. And Bishop's inventiveness allowed her to adapt a self-exploratory mode often, but imprecisely, termed confessional to challenging forms such as the double sonnet, villanelle, and sestina.Each of these poets suffered a devastating loss during childhood and lived through the twentieth-century disasters of the Great Depression, World War II and the Holocaust, and the cold war. The continual tension in their poetry between subjectivity and form, claims Travisano, reflects the plight of the fractured individual in a postmodern world. By arguing so sharply for the importance of this circle, Midcentury Quartet is certain to redraw the map of postwar American poetry.