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Stories from My Twenty Years in South Carolina Maritime Archaeology
Combining his skills as a veteran journalist and well-practiced storyteller with his two decades of underwater adventures in maritime archaeology, Carl Naylor offers a colorfully candid account of remarkable discoveries in the Palmetto State's history and prehistory. Through a mix of personal anecdotes and archaeological data, Naylor's memoir, The Day the Johnboat Went up the Mountain, documents his experiences in the service of the Maritime Research Division of the South Carolina Institute of Archaeology and Anthropology, a research arm of the University of South Carolina. Shared in a companionable tone, this insightful survey of Naylor's distinguished career is highlighted by his firsthand account of serving as diving officer for the excavation of the Confederate submarine H. L. Hunley in 1996 and the subsequent excavation of its victim, the USS Housatonic. He also recounts tales of dredging the bottom of an Allendale County creek for evidence of the earliest Paleoindians, exploring the waters off Winyah Bay for a Spanish ship lost in 1526 and the waters of Port Royal Sound for a French corsair wrecked in 1577, studying the remains of the historic Santee Canal near Moncks Corner, and searching for evidence of Hernando de Soto's travels through South Carolina in 1540. Naylor describes as well his investigations of suspected Revolutionary War gunboats in the Cooper River, a colonial and Revolutionary War shipyard on Hobcaw Creek, the famous Brown's Ferry cargo vessel found in the Black River, a steamship sunk in a storm off Hilton Head Island in 1899, and a mysterious cargo site in the Cooper River. Throughout these episodes, Naylor gives an insider's view of the methods of underwater archaeology in stories that focus on the events, personalities, and contexts of historic finds and on the impact of these discoveries on our knowledge of the Palmetto State's past. His narrative serves as an authoritative personal account of South Carolina's ongoing efforts to discover and preserve evidence of its own remarkable maritime history.
Murder, Honor, and Freedom of the Press
On January 15, 1903, South Carolina lieutenant governor James H. Tillman shot and killed Narciso G. Gonzales, editor of South Carolina’s most powerful newspaper, the State. Blaming Gonzales’s stinging editorials for his loss of the 1902 gubernatorial race, Tillman shot Gonzales to avenge the defeat and redeem his “honor” and his reputation as a man who took bold, masculine action in the face of an insult. James Lowell Underwood investigates the epic murder trial of Tillman to test whether biting editorials were a legitimate exercise of freedom of the press or an abuse that justified killing when camouflaged as self-defense. This clash—between the revered values of respect for human life and freedom of expression on the one hand and deeply engrained ideas about honor on the other—took place amid legal maneuvering and political posturing worthy of a major motion picture. One of the most innovative elements of Deadly Censorship is Underwood’s examination of homicide as a deterrent to public censure. He asks the question, “Can a man get away with murdering a political opponent?” Deadly Censorship is courtroom drama and a true story. Deadly Censorship is a painstaking recreation of an act of violence in front of the State House, the subsequent trial, and Tillman’s acquittal, which sent shock waves across the United States. A specialist on constitutional law, James Lowell Underwood has written the definitive examination of the court proceedings, the state’s complicated homicide laws, and the violent cult of personal honor that had undergirded South Carolina society since the colonial era.
Constructing a Conservation Culture in the South Carolina Lowcountry
Sustainability of the natural environment and of our society has become one of the most urgent challenges facing modern Americans. Communities across the country are seeking a viable pattern of growth that promotes prosperity, protects the environment, and preserves the distinctive quality of life and cultural heritage of their regions. The coastal zone of South Carolina is one of the most endangered, culturally complex regions in the state and perhaps in all of the American South. A Delicate Balance examines how a multilayered culture of environmental conservation and sustainable development has emerged in the lowcountry of South Carolina. Angela C. Halfacre, a political scientist, describes how sprawl shock, natural disaster, climate change, and other factors spawned and sustain—but at times also threaten and hinder—the culture of conservation. As Halfacre demonstrates, maintaining the quality of the environment while accommodating residential, commercial, and industrial growth is a balancing act replete with compromises. The book documents the origins, goals, programs, leaders, tactics, and effectiveness of a conservation culture. A Delicate Balance deftly illustrates that a resilient culture of conservation that wields growing influence in the lowcountry has become an important regional model for conservation efforts across the nation. A Delicate Balance also includes a foreword by journalist Cynthia Barnett, author of Blue Revolution: Unmaking America's Water Crisis and Mirage: Florida and the Vanishing Water of the Eastern U.S.
John Dewey on the Arts of Becoming
In Democracy and Rhetoric, Nathan Crick articulates from John Dewey's body of work a philosophy of rhetoric that reveals the necessity for bringing forth a democratic life infused with the spirit of ethics, a method of inquiry, and a sense of beauty. Crick relies on rhetorical theory as well interdisciplinary insights from philosophy, history, sociology, aesthetics, and political science as he demonstrates that significant engagement with issues of rhetoric and communication are central to Dewey's political philosophy. In his rhetorical reading of Dewey, Crick examines the sophistical underpinnings of Dewey's philosophy and finds it much informed by notions of radical individuality, aesthetic experience, creative intelligence, and persuasive advocacy as essential to the formation of communities of judgment. Crick illustrates that for Dewey rhetoric is an art situated within a complex and challenging social and natural environment, wielding influence and authority for those well versed in its methods and capable of experimenting with its practice. From this standpoint the unique and necessary function of rhetoric in a democracy is to advance minority views in such a way that they might have the opportunity to transform overarching public opinion through persuasion in an egalitarian public arena. The truest power of rhetoric in a democracy then is the liberty for one to influence the many through free, full, and fluid communication. Ultimately Crick argues that Dewey's sophistical rhetorical values and techniques form a naturalistic "ontology of becoming" in which discourse is valued for its capacity to guide a self, a public, and a world in flux toward some improved incarnation. Appreciation of this ontology of becoming—of democracy as a communication-driven work in progress—gives greater social breadth and historical scope to Dewey's philosophy while solidifying his lasting contributions to rhetoric in an active and democratic public sphere.
For years Tommy Charles scoured South Carolina's upcountry for examples of ancient rock art carvings and paintings, efforts conducted on behalf of the South Carolina Institute of Archaeology and Anthropology (SCIAA). As SCIAA's collections coordinator, Charles amassed considerable field experience in both prehistoric and historic archaeology and had firsthand involvement in cataloging sixty-four sites of South Carolina rock art. Charles chronicles his adventures in exploration and preservation in Discovering South Carolina's Rock Art. Although Native American rock art is common in the western United States and even at many sites east of the Mississippi, it was believed to be almost nonexistent in South Carolina until the 1980s, when several randomly discovered petroglyphs were reported in the upstate. These discoveries set in motion the first organized endeavor to identify and document these ancient examples of human expression in South Carolina. Over the ensuing years, and assisted by a host of volunteers and avocational collectors, Charles scoured the Piedmont and mountains of South Carolina in search of additional rock art. Frustrated by the inability to find these elusive artifacts, many of which are eroded almost beyond visibility, Charles began employing methods still considered unorthodox by current scientific standards for archaeological research to assist with his search and documentation. Survey efforts led to the discovery of rock art created by Native Americans and Europeans. Of particular interest are the many circle-and-line petroglyphs the survey found in South Carolina. Seeking a reason for this repetitive symbol, Charles's investigation into these finds led to the discovery that similar motifs had been identified along the Appalachian Mountains from Alabama to New York, as well as in the American Southwest and Western Europe. This engrossing account of the search for South Carolina's rock art brings awareness to the precarious state of these artifacts, threatened not only by natural attrition but also by human activities. Charles argues that, if left unprotected, rock art is ultimately doomed to exist only in our historical records.
An Artist's Journey: Painting and Sketches by Mary Whyte
Artist Mary Whyte’s Down Bohicket Road includes two decades worth of watercolors—depicting a select group of Gullah women of Johns Island, South Carolina, and their stories. In 1991, following Whyte’s recovery from a year of treatment for cancer, she and her husband moved to a small sea island near Charleston, seeking a new home where they could reinvent themselves far removed from the hectic pace of Philadelphia. In this remote corner of the South, Whyte first met Alfreda LaBoard and her devoted group of seniors who gathered weekly to make quilts, study the Bible, and socialize in a small rural church on Bohicket Road. Descendants of lowcountry slaves, these longtime residents of the island influenced Whyte’s life and art in astonishing and unexpected ways. Whyte soon began a series of watercolors depicting these women, honoring their lives and their dedication to family and faith. As her friendships with these women grew, their matriarch Alfreda LaBoard claimed Whyte as her “vanilla sister.” Alfreda’s World, a collection of Whyte’s detailed watercolors and poignant recollections of the women at the senior center, was published a decade later, drawing attention and support from the community to the small church on Bohicket Road. Down Bohicket Road continues the story of Whyte’s relationship with these extraordinary women, following the passing of Alfreda, against the backdrop of the ongoing commercial development of Johns Island. For Whyte, the heart of this community remains in the simple homes clustered along Bohicket Road, in the island’s winding tidal creeks, and in a small church where eighteen hardscrabble women gather in fellowship each week. In her book Whyte illustrates that both watercolors and friendships can be the unpredictable results of an abundance of blessings. As shared through touching words and vibrant paintings, Down Bohicket Road celebrates a unique way of coastal life and a remarkable friendship that transcends all barriers—even death itself—in praise of the unifying power of art.
A Happy Book
Sweeping in and out of real and imagined places, Dreamtime highlights the curious character of an unconventional teacher, writer, traveler, husband, and father as he takes stock of his multifaceted life. Sam Pickering—the inspiration for the main character in Dead Poets Society—guides us on a journey through his reflections on retirement, aging, gardening, and travel. He describes the pleasures of domesticity, summers spent in Nova Scotia, and the joy of sharing a simple life with his wife of almost forty years. "Life is a tiresome journey," Pickering muses, "and when a man arrives at the end, he is generally out of breath." Although Pickering is now more likely to shuffle than gallop, he isn't yet out of breath, ideas, or ink. The refreshing and reflective substance of these essays shines through a patina of wit in Pickering's characteristically evocative and sincere prose. The separate events depicted in Dreamtime invite the reader into Pickering's personal experiences as well as into his viewpoints on teaching and encounters with former students. In "Spring Pruning," Pickering describes the precarious tumor in his parathyroid and the possibility of cancer affecting his daily life. In a refreshingly honest tone Pickering says, "Moreover the funeral had become a staple of chat, so much so I'd recently mulled having the raucous, insolent ringer on my telephone replaced by the recording of taps." Appealing to creative writers and readers who enjoy an adventurous account of travels through life, Dreamtime accentuates the lifestyle of a longtime master teacher whose experiences take him from sunny days in the classroom to falling headfirst over a fence after running a half-marathon. Unpredictable, spontaneous, and always enlightening, Pickering's idiosyncratic approach and companionable charm will delight anyone who shares his intoxication with all the surprising treasures that might furnish a life with happiness.
Selected by Kate Daniels as the winner of the South Carolina Poetry Book Prize, Driving through the Country before You Are Born is the first collection of poetry from Ray McManus. The speaker in these poems searches for redemption and solace while navigating from a traumatic loss in the past to a present fraught with violence and self-destruction. The volume chronicles his attempt to glean some measure of forgiveness through acceptance of his own responsibly for his circumstances. The reader is called on to witness family stories without happy endings, landscapes on the verge of collapse, and prophetic visions of horrors yet to come. From these haunting visions, the only viable salvation is rooted in hope that, out of the ruins, there remains the possibility of a fresh beginning.
Part travelogue, part psychological self-study, Sam Pickering's Edinburgh Days, or Doing What I Want to Do is an open invitation to be led on a walking tour of Scotland's capital as well as through the labyrinth of the guide's swerving moods and memories. Along the way readers discern as much from Pickering's sensual observations of Scottish lives and landmarks as they do about what befalls the curious mind of an intellectual removed from the relations and responsibilities that otherwise delineate his days. Pickering spent the winter and spring of 2004 on a fellowship at the Institute for Advanced Studies in the Humanities at the University of Edinburgh, making his return to the city after a forty-year absence. Edinburgh Days maps the transition from his life in Connecticut, defined by family, academic appointments, and the recognition of neighbors and avid acolytes, to a temporary existence on foreign soil that is at once unsettlingly isolating and curiously liberating. Torn between labeling himself a tourist or a sojourner, Pickering opts to define himself as an "urban spelunker" and embarks on daily explorations of the city's museums, bookshops, pubs, antique stores, monuments, neighborhoods, and graveyards. His ambling tours include such recognizable sites as Edinburgh Castle, the Palace of Holyroodhouse, Castle Rock, the Museum of Childhood, the National Gallery, the Writers' Museum, the Museum of the People, the Huntly House, the John Knox House, the Royal Botanic Garden, and the Edinburgh Zoo. The holdings of city and university libraries present Pickering with the opportunity to revisit the works of a host of writers, both renowned and obscure, including Robert Louis Stevenson, Samuel Smiles, John Buchan, Tobias Wolfe, Russell Hoban, Patrick White, Hilaire Belloc, and Van Wyck Brooks. "I have long been a traveler in little things," he muses, and it is his fascination with minutiae that infuses this collection of essays with the dynamic descriptions, quirky observations, and jesting interludes that bring the historic city to life on the page and simultaneously recall the very best of Pickering's idiosyncratic style.
The international adventures of a southern widow turned patron of historical discovery, Elizabeth Sinkler Coxe's Tales from the Grand Tour, 1890–1910 is a travelogue of captivating episodes in exotic lands as experienced by an intrepid American aristocrat and her son at the dawn of the twentieth century. A member of the prominent Sinkler family of Charleston and Philadelphia, Elizabeth "Lizzie" Sinkler married into Philadelphia's wealthy Coxe family in 1870. Widowed just three years later, she dedicated herself to a lifelong pursuit of philanthropy, intellectual endeavor, and extensive travel. Heeding the call of their dauntless adventuresome spirits, Lizzie and her son, Eckley, set sail in 1890 on a series of odysseys that took them from the United States to Cairo, Luxor, Khartoum, Algiers, Istanbul, Naples, Vichy, and Athens. The Coxes not only visited the sites and monuments of ancient civilizations but also participated in digs, funded entire expeditions, and ultimately subsidized the creation of the Coxe Wing of Ancient History at the University of Pennsylvania Museum. A prolific correspondent, Lizzie conscientiously recorded her adventures abroad in lively prose that captures the surreal exhilarations and harsh realities of traversing the known and barely known worlds of Africa and the Middle East. She journeyed through foreign lands with various nieces in tow to expose them to the educational and social benefits of the Grand Tour. Her letters and recollections are complemented by numerous photographs and several original watercolor paintings.