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University of South Carolina Press
Transnational Meanings of the American Civil War
In an attempt to counter the insular narratives of much of the sesquicentennial commemorations of the Civil War in the United States, editors David T. Gleeson and Simon Lewis present this collection of essays to highlight the war not just as a North American conflict but as a global one affected by transnational concerns. The book, while addressing the origins of the Civil War, places the struggle over slavery and sovereignty in the U.S. in the context of other conflicts in the Western hemisphere. Additionally Gleeson and Lewis offer an analysis of the impact of the war and its results overseas. Although the Civil War was the bloodiest conflict in America’s history and arguably its single most defining event, this work underscores the reality that the war was by no means the only conflict that ensnared the global imperial powers in the mid–nineteenth century and was in some ways just another part of the contemporary conflicts over the definitions of liberty, democracy, and nationhood. The editors have successfully linked numerous provocative themes and convergences of time and space to make the work both coherent and cogent. Subjects include such disparate topics as Florence Nightingale, Gone with the Wind, war crimes and racial violence, and choices of allegiance made by immigrants to the United States. While we now take for granted the values of freedom and democracy, we cannot understand the impact of the Civil War and the victorious “new birth of freedom” without thinking globally. The contributors to The Civil War as Global Conflict reveal that Civil War–era attitudes toward citizenship and democracy were far from fixed or stable. Race, ethnicity, nationhood, and slavery were subjects of fierce controversy. Examining the Civil War in a global context requires us to see the conflict as a seminal event in the continuous struggles of people to achieve liberty and fulfill the potential of human freedom. The book concludes with a coda that reconnects the global with the local and provides ways for Americans to discuss the war and its legacy more productively.
Few events have sparked more legends and stories of the supernatural than America's Civil War. The accounts of gallantry and heroism have spread far and wide. Nancy Roberts grew up listening to her father's stories of the War Between the States and she trekked over many battle sites with him during her childhood. After reading about General Joshua Chamberlain's supernatural experience at the Battle of Gettysburg, Roberts began to collect tales of the blue and gray and write them down. In her latest collection, the reader will visit famous Civil War sites such as Fredericksburg, Antietam, Johnson's Island, Andersonville, Fort Davis, Gaines Mill, Gettysburg, Fort Monroe, Harpers Ferry, Vicksburg, Richmond, Charleston, New Bern, and Petersburg. Through these stories, the reader will hear the voices of those brave individuals who lived through that dramatic era. Visit with Brigadier General J.E.B. Stuart on the banks of the Chickahominy River. Get the real story about John Brown's activities at Harpers Ferry. Hear the eerie whistle of Abraham Lincoln's funeral train.
A Clear View of the Southern Sky reveals women in the twenty-first century doing what women have always done in pursuit of life, liberty, and happiness. In each of the ten tales from southern storyteller Mary Hood, women have come—by circumstances and choice—to the very edge of their known worlds. Some find courage to winnow and move on; others seek the patience to risk and to stay. Along the way hearts, bonds, speed limits, fingernails, and the Ten Commandments get broken. Dust settles, but these women do not. In the title story, a satellite dish company promises that happiness—or at least access to its programming—requires just a TV and a clear view of the southern sky. The short story itself reveals the journey of a Hispanic woman whose mission is to assassinate a mass murderer, an agenda triggered by post-traumatic stress wrought by seeing the murderer’s cynical grin on a news program. We follow her into the shadow of an enormous satellite dish on a roof across the street from the courthouse and ultimately into a women’s prison English-as-Second-Language class where she must confront her life. She has slept but never dreamed, and now she wakes . . . In other stories Hood introduces us to a kindergarten teacher, stunned by a student’s blurted-out question, as she discovers her deepest vocation and the mystery of its source. We meet a widow who befriends a young neighbor, only to realize they must keep secrets from each other and hold fast to their hope. A woman trucker discovers the depth of her love as she imagines her cell phone calls—and her sweetheart’s own messages—winging their way, tower to tower, along her interstate route. Two stories deal with one man and two of his wives and how they learn the lessons only love can teach about the reach and limitations of ownership and forever. The collection concludes with the novella “Seambusters,” in which a diverse cast of women workers in a rural Georgia mill sew camouflage for U.S. soldiers in Afghanistan. The women are part of a larger purpose, and they know it. When the shadow of death passes over the factory, each woman and the entire community find out what it really means to have American Pride. New York Times best-selling writer and Story River Books editor at large Pat Conroy provides a foreword to the collection.
Coca-Cola is a true American original and one of the world’s most recognized and popular American products. In The Coca-Cola Art of Jim Harrison, the artist traces his lifelong love affair with the Coca-Cola trademark that began during his childhood in rural South Carolina. Harrison enjoyed drinking the sweet and effervescent beverage, but he also was attracted to the Coca-Cola trademark that was blazoned on buildings and signs in his home town. After years of marveling at the work of local sign painter J. J. Cornforth, Harrison approached the seventy-year-old for a summer job. During several summers Cornforth taught Harrison the craft. When the young artist climbed atop the scaffold in the summer of 1952 to paint his first Coca-Cola sign, little did he know that he was launching a career as one of America’s foremost landscape artists. In 1975 Harrison created a painting of a country store that featured a fading Coca-Cola sign he and Cornforth had painted twenty years earlier. The painting, titled "Disappearing America," was offered as one of the first limited-edition Coca-Cola collector prints for $40 by Frame House Gallery. All 1,500 copies sold out quickly, propelling him into the national spotlight through the publisher’s network of 600 dealers. Harrison soon became the undisputed leader in rural Americana art, with this and many of his other prints appreciating up to 3,000 percent of their original value. Since entering into a licensee relationship with the Coca-Cola Company in 1995, Harrison has continued developing limited-edition prints, including his popular annual Coca-Cola calendar. Not surprisingly, Harrison has become an avid collector of old Coca-Cola signs. His studio is lined with a vast array of this collection, which serves as inspiration for new works of art.
Antebellum Soldier of Fortune and Florida Pioneer
Henry Theodore Titus (1822–1881) was the quintessential adventurer, soldier of fortune, and small-time entrepreneur, a man for whom any frontier—geographical, cultural, social—was an opportunity for advancement. Although born in Trenton, New Jersey, and raised in New York and Pennsylvania, Titus bore no allegiance to his native soil or the Yankee values of his ancestors. In the 1850s he became a staunch defender of southern slavery, United States expansionism into the Caribbean Basin, and ultimately the Confederacy’s war of disunion. In Colonel Henry Theodore Titus, the first full-length biography of Titus, Antonio Rafael de la Cova reveals a man whose life and adventures offer glimpses into nineteenth-century America not often examined; these indicate the extent to which personal and collective violence, racial prejudice, and moral ambiguities shaped the country at the time. Belligerent, intemperate, egomaniacal, and of imposing stature, Titus was the bête noire of the abolitionist press. Despite his northern roots, he became a caricature of the southern braggart and frontier opportunist. National newspapers followed his reckless exploits during most of his adult life. Titus fought brawls in the saloons of luxury hotels and narrowly escaped the hangman’s noose as a Border Ruffian leader in Bleeding Kansas, a Nicaraguan firing squad as a filibuster, and death in a Comanche ambush in Texas. He nearly prompted an international incident between the United States and Great Britain when he was arrested in Nicaragua for threatening to shoot a British naval officer and disparaging the queen of England. The colonel was jailed in New York City for disorderly conduct and trying “to organize the desperate classes for a riot.” During his lifetime Titus held more than a dozen occupations, including sawmill owner, postal inspector, soldier of fortune, grocer, planing mill salesman, farmer, slave overseer, turtler, bartender, land speculator, and hotel keeper. He pursued silver mining in the Gadsden Purchase portion of the Arizona Territory where his brother was killed and their hacienda destroyed by Apaches. Despite his violent character and his pro-Confederate values, Titus was politically savvy. He did not take up arms during the Civil War. After a brief stint as assistant quartermaster in the Florida militia, he returned to civilian life and sold foodstuffs and slave labor to the Confederacy. Florida Reconstruction governors later appointed him as notary public and justice of the peace. Rheumatism and gout kept Titus bound to a wheelchair during the last few years of his life when he became an avid civic leader. His greatest legacy was ironically his most benign. Borrowing today’s equivalent income value sum of half a million dollars, he established a grocery store and a sawmill in a hardscrabble Florida frontier settlement that became the city of Titusville, the county seat of Brevard County and tourist gateway to Cape Canaveral and the Kennedy Space Center.
Interviews with Pat Conroy and His Family
A New York Times best-selling author of eleven novels and memoirs, Pat Conroy is one of America’s most beloved storytellers and a writer as synonymous with the South Carolina lowcountry as pluff mud or the Palmetto tree. As Conroy’s writings have been rooted in autobiography more often than not, his readers have come to know and appreciate much about the once-secret dark familial history that has shaped Conroy’s life and work. Conversations with the Conroys opens further the discussion of the Conroy family through four revealing interviews conducted in 2014 with Pat Conroy and four of his six siblings: brothers Mike, Jim, and Tim and sister Kathy. In confessional and often comic dialogs, the Conroys openly discuss the perils of being raised by their larger-than-life parents, USMC fighter pilot Col. Don Conroy (the Great Santini) and southern belle Peggy Conroy (née Peek); the complexities of having their history of abuse made public by Pat’s books; the tragic death of their youngest brother, Tom; the chasm between them and their sister Carol Ann; and the healing, redemptive embrace they have come to find over time in one another. With good humor and often-striking candor, these interviews capture the Conroys as authentic and indeed proud South Carolinians, not always at ease with their place in literary lore, but nonetheless deeply supportive of Pat in his life and writing. Edited and introduced by the Palmetto State’s preeminent historian, Walter Edgar, Conversations with the Conroys includes the first publications of Pat Conroy’s interview with Edgar as the keynote address of the 2014 One Book, One Columbia citywide “big read” program, the unprecedented interview with the Conroy siblings for SCETV Radio’s Walter Edgar’s Journal, the resulting live Conroy Family Roundtable held at the 2014 South Carolina Book Festival, and a recent interview in Charleston following Pat Conroy’s induction into the Citadel’s Athletics Hall of Fame. This collection is augmented with an afterword from National Book Award–winning poet Nikky Finney and nearly fifty photographs, many from the Pat Conroy Archive in the Irvin Department of Rare Books and Special Collections, University of South Carolina Libraries, and published here for the first time. Through the resulting treasure trove of text and images, this volume is as much a keepsake for Conroy’s legion of devoted fans as it is a wealth of insider information to broaden the understanding of readers and researchers alike of the idiosyncratic world of Pat Conroy and his family.
A Collection of Oral Histories
"It was hard times," French Carpenter Clark recalls, a sentiment unanimously echoed by the sixteen other women who talk about their lives in Country Women Cope with Hard Times. Born between 1890 and 1940 in eastern Tennessee and western South Carolina, these women grew up on farms, in labor camps, and in remote towns during an era when the region's agricultural system changed dramatically. As daughters and wives, they milked cows, raised livestock, planted and harvested crops, worked in textile mills, sold butter and eggs, preserved food, made cloth, sewed clothes, and practiced remarkable resourcefulness. Their recollections paint a vivid picture of rural life in the first half of the twentieth century for a class of women underrepresented in historical accounts. Through her edited interviews with these women, Melissa Walker provides firsthand descriptions of the influence of modernization on ordinary people struggling through the agricultural depression of the 1920s and 1930s and its aftermath. Their oral histories make plain the challenges such women faced and the self-sacrificing ways they found to confront hardship. While the women detail the difficulties of their existence—the drought years, early freezes, low crop prices, and tenant farming—they also recall the good times and the neighborly assistance of well-developed mutual aid networks, of which women were the primary participants.
Vividly set in the rich pluralistic culture and primeval landscape of colonial South Carolina, this historical novel brings to life, and back into our memory, the birth of free-range cattle herding that would later come to be associated exclusively with the American West. Drawing on his accomplished career as a leading scholar of the anthropology and history of the early South, Charles Hudson weaves a compelling tale of adventure and love in the colorful tapestry of Charles Town taverns, backcountry trails, pinewoods cattle ranges, hidden villages of remnant native peoples, river highways, rice plantations, and more. Hudson’s narrative revolves around William MacGregor, a young Scottish immigrant trying to establish himself in the New World. A lover of philosophy and Shakespeare, William is penniless, which leads him to take work as a cow-hunter (colonial cowboy) for a pinder (colonial rancher) of a cowpen (colonial ranch) in the Carolina backcountry. The pinder, an older man with three daughters, sees his world unraveling as he ages. The parallel to King Lear does not escape William, who gets caught up in the family drama as he falls in love with the pinder’s youngest daughter. Except for the boss of his crew, who is the pinder’s son-in-law, William’s fellow cow-hunters are slaves: an old Indian captured in Spanish Florida, a Fulani captured in Africa, and two brothers, half-Indian and half-African, who were born into slavery in the New World. A rogue bull adds a chilling element of danger, and the romance is complicated by a rivalry with a wealthy rice planter’s son. William struggles to salvage something from the increasingly disastrous situation, and the King Lear–like dissolution of the cowpen proceeds apace as the story heads toward its conclusion.
Proprietary Era Histories
The essays in Creating and Contesting Carolina shed new light on how the various peoples of the Carolinas responded to the tumultuous changes shaping the geographic space that the British called Carolina during the Proprietary period (1663–1719). In doing so, the essays focus attention on some of the most important and dramatic watersheds in the history of British colonization in the New World. These years brought challenging and dramatic changes to the region, such as the violent warfare between British and Native Americans or British and Spanish, the no-less dramatic development of the plantation system, and the decline of proprietary authority. All involved contestation, whether through violence or debate. The very idea of a place called Carolina was challenged by Native Americans, and many colonists and metropolitan authorities differed in their visions for Carolina. The stakes were high in these contests because they occurred in an early American world often characterized by brutal warfare, rigid hierarchies, enslavement, cultural dislocation, and transoceanic struggles for power. While Native Americans and colonists shed each other’s blood to define the territory on their terms, colonists and officials built their own version of Carolina on paper and in the discourse of early modern empires. But new tensions also provided a powerful incentive for political and economic creativity. The peoples of the early Carolinas reimagined places, reconceptualized cultures, realigned their loyalties, and adapted in a wide variety of ways to the New World. Three major groups of peoples—European colonists, Native Americans, and enslaved Africans—shared these experiences of change in the Carolinas, but their histories have usually been written separately. These disparate but closely related strands of scholarship must be connected to make the early Carolinas intelligible. Creating and Contesting Carolina brings together work relating to all three groups in this unique collection.
Critical Approaches to Joseph Conrad is a collection of essays directed to both new and experienced readers of Conrad. The book takes into account recent developments in literary theory, including the prominence of ecocriticism, ecopostcolonial approaches, and gender studies. Editor Agata Szczeszak-Brewer offers a comprehensive and comprehensible introduction to Conrad’s most popular texts, also addressing the most recent academic debates as well as the conversations about narrative and genre in Conrad’s canon. Students and scholars of Conrad, twentieth-century literature, and modernism will appreciate the clear, accessible prose by nineteen internationally recognized contributors who approach Conrad in different ways, from postcolonial and ecocritical perspectives, through explorations of gender, to psychoanalysis, narrative theory, and political analysis. Beginning with a biographical introduction by Szczeszak-Brewer, the collection offers an essay outlining the cultural and historical contexts that influenced Conrad’s fiction and an essay on reception of Conrad’s work. Following that, contributors provide critical approaches to Heart of Darkness, Lord Jim, Typhoon, Nostromo, The Secret Agent, The Secret Sharer, and Under Western Eyes. In these sections scholars offer insights about complex issues in Conrad’s fiction, ranging from the study of specific literary tools and narrative development in his books to the political theories in Conrad’s portrayal of the threat of terrorism and violent revolutions.