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Arkansas Goes to War, 1861
Positioned along the legendary Southwest Trail, the town of Washington in Hempstead County in southwest Arkansas was a thriving center of commerce, business, and county government in the nineteenth century. Historical figures such as Davy Crockett and Sam Houston passed through, and during the Civil War, when the Federal troops occupied Little Rock, the Hempstead County Courthouse in Washington served as the seat of state government. A prosperous town fully involved in the events and society of the territorial, antebellum, Civil War, and Reconstruction eras, Washington became in a way frozen in time by a series of events including two fires, a tornado, and being bypassed by the railroad in 1874. Now an Arkansas State Park and National Historic Landmark, Washington has been studied by the Arkansas Archeological Survey over the past twenty-five years. Digging for History at Old Washington joins the historical record with archaeological findings such as uncovered construction details, evidence of lost buildings, and remnants of everyday objects. Of particular interest are the homes of Abraham Block, a Jewish merchant originally from New Orleans, and Simon Sanders from North Carolina, who became the town’s county clerk. The public and private lives of the Block and Sanders families provide a fascinating look at an antebellum town at the height of its prosperity.
An Anthology of Contemporary Arab American Fiction
The first edition of Dinarzad’s Children was a groundbreaking and popular anthology that brought to light the growing body of short fiction being written by Arab Americans. This expanded edition includes sixteen new stories —thirty in all—and new voices and is now organized into sections that invite readers to enter the stories from a variety of directions. Here are stories that reveal the initial adjustments of immigrants, the challenges of forming relationships, the political nuances of being Arab American, the vision directed towards homeland, and the ongoing search for balance and identity. The contributors are D. H. Melhem, Mohja Khaf, Rabih Alameddine, Rawi Hage, Laila Halaby, Patricia Sarrafian Ward, Alia Yunis, Diana Abu Jaber, Susan Muaddi Darraj, Samia Serageldin, Alia Yunis, Joseph Geha, May Monsoor Munn, Frances Khirallah Nobel, Nabeel Abraham, Yussef El Guindi, Hedy Habra, Randa Jarrar, Zahie El Kouri, Amal Masri, Sahar Mustafah, Evelyn Shakir, David Williams, Pauline Kaldas, and Khaled Mattawa.
This powerful first collection and winner of the inaugural $5,000 Miller Williams Arkansas Poetry Prize is literally rooted in the earth and in the world of animal husbandry. You can taste these poems about life on a family dairy farm in your mouth. In these lyrical poems we meet a closeted young man, his parents, their herd, and the other flora, fauna, and objects that populate his surreal garden.
The Arkansas Supreme Court, 1836–1874
During the period from 1836 to 1874, the legal system in the new state of Arkansas developed amid huge social change. While the legislature could, and did, determine what issues were considered of importance to the populace, the Arkansas Supreme Court determined the efficacy of legislation in cases involving land titles, banks, transportation, slavery, family law, property, debt, contract, criminal law, and procedure.Distinguishing the Righteous from the Roguish examines the court’s decisions in this era and shows how Arkansas, as a rural slave-holding state, did not follow the transformational patterns typical of some other states during the nineteenth century. Rather than using the law to promote broad economic growth and encourage social change, the Arkansas court attempted to accommodate the interests of the elite class by preserving the institution of slavery. The ideology of paternalism is reflected in the decisions of the court, and Looney shows how social and political stability—an emphasis on preserving the status quo of the so-called “righteous”—came at the expense of broader economic development.
Fifty Years of Southern Poetry Review
This substantial anthology charts the development of this influential journal decade by decade, making clear that although it has close ties to a particular region, it has consistently maintained a national scope, publishing poets from all over the United States. SPR’s goal has been to celebrate the poem above all, so although there are poems by major poets here, there are many gems by less famous, perhaps even obscure, writers too. Here are 183 poems by nearly as many poets, from A. R. Ammons, Kathryn Stripling Byer, James Dickey, Mark Doty, Claudia Emerson, David Ignatow, and Carolyn Kizer to Ted Kooser, Maxine Kumin, Denise Levertov, Howard Nemerov, Sharon Olds, Linda Pastan, and Charles Wright.
The Jones Family Farm in the Arkansas Delta 1848–2006
In telling the story of five generations of her family and its farm in the Arkansas Delta, Margaret Jones Bolsterli brings together her own research, historical perspective, and family lore as it reaches her from the days of her great-grandfather down to her nephew. The result is a family saga that is at once universal and personal, historical and timeless. During Wind and Rain moves from the land’s acquisition in 1848 through the Civil War and Reconstruction, the 1927 Flood, the Great Depression, and the drought of 1930 to the modern considerations of mechanization, fertilizer, pesticides, and irrigation. The transformation of dense swamp and forest to today’s commercial agriculture is the story of two hundred acres worked by people sowing their fate with sweat, ingenuity, and luck. From the hoes of Bolsterli’s great-grandfather Uriah’s time to her nephew Casey’s machinery capable of cultivating an acre in five minutes, During Wind and Rain poignantly portrays five generations of farmers motivated by dreams of “a crop so good that the memory of it can warm the drafty floors of adversity for the rest of one's life.”
Their Use in the United States
Poems by Robert Gibb
The poems in The Empty Loom weave together a figure—lover, wife, mother, muse—who takes shape before us, fully present in what Samuel Beckett calls “the time of the body.” Set firmly within the resonance of the natural world and glimpsed in paintings, fabrics, snatches of song, the poems revolve around her, fulfilling their “injunction to savor / The folds of light which fall / On the perishable world.” Now joyful, now elegiac in tone, Gibb’s love and its loss are rendered in the quiet elegance of image and line characteristic of his poems, their focus shifting like the sun as it tracks its passage across a room, a life.