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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.
Archibald Rutledge’s story “The Doom of Ravenswood” is a harrowing account of the power of the natural world and of the dangers for humans and animals alike to be found in the ominous swamps of the South Carolina lowcountry. As the narrator of this cautionary tale is riding home astride his faithful horse, Redbird, to Ravenswood Plantation, he is compelled to stop along the isolated road to pick wildflowers. But the untamed wilderness has laid a trap for the traveler, and he quickly finds himself sinking helplessly into the inescapable pull of the morass. With Redbird his only ally in this deadly predicament and with fate and nature set squarely against him, the narrator must use his wits if he is to survive. The short story “The Doom of Ravenswood” was written for publication in an early twentieth-century boy’s magazine and was first collected in the privately printed Eddy Press edition of Old Plantation Days (c. 1913). Limited to just a few hundred copies, the Eddy Press edition is highly prized by Rutledge collectors and includes five stories—“Claws,” “The Doom of Ravenswood,” “The Egret’s Plumes,” “The Heart of Regal,” and “The Ocean’s Menace”—not found in the more widely available 1921 Stokes edition of Old Plantation Days. A project of the Humanities Council SC benefiting the South Carolina Book Festival, this new edition of The Doom of Ravenswood is illustrated in handsome charcoal etchings by southern artist Stephen Chesley. Award-winning outdoors writer and noted Rutledge scholar Jim Casada provides the volume’s introduction and Lillian Smith Award–winning writer William Baldwin offers an afterword.
The Price and Promise of Citizenship
Robert E. Terrill argues that, in order to invent a robust manner of addressing one another as citizens, Americans must learn to draw on the delicate indignities of racial exclusion that have stained citizenship since its inception. In Double-Consciousness and the Rhetoric of Barack Obama, Terrill demonstrates how President Barack Obama’s public address models such a discourse. Terrill contends that Obama’s most effective oratory invites his audiences to experience a form of “double-consciousness,” which was famously described by W. E. B. Du Bois as a feeling of “two-ness” resulting from the African American experience of “always looking at one’s self through the eyes of others.” It is described as an effect of cruel alienation that can also bring a gift of “second-sight” in the form of perspectives on practices of citizenship not available to those in positions of privilege. When addressing fellow citizens, Obama is asking each to share in the “peculiar sensation” that Du Bois described. The racial history of U.S. citizenship is a resource for inventing contemporary ways of speaking about race. Joining with other work that suggests that double-consciousness may be a vital democratic attitude, Terrill extends those insights to consider it as a mode of address. Through close analyses of selected speeches from Obama’s 2008 campaign and first presidential term, this book argues that Obama does not present double-consciousness merely as a point of view but rather as an idiom with which we might speak to one another. Of course, as Du Bois’s work reminds us, double-consciousness results from imposition and encumbrance, so that Obama’s oratory presents a mode of address that emphasizes the burdens of citizenship together with the benefits, the price as well as the promise.
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.
A Literary Anthology
Jacob F. Rivers III has collected twenty-two classic hunting tales by twelve southern writers including Davey Crocket, Johnson J. Hooper, and Henry Clay Lewis. These stories spring not only from a genteel literary tradition but also from the tradition of the tall tale or stories of backwoods humor. Antebellum and post–Civil War tales reflect changes in the social and economic composition of the hunting class in the South. Some reveal themes of fear for the future of field sports, and others demonstrate an early conservation ethic among hunters and landowners. Early Southern Sports and Sportsmen brings to new readers a wealth of hunting and fishing lore heretofore hard to find by any but scholars in the field of southern literature. Rivers has gathered a host of well-read and well-heeled sportsmen who relish each and every detail of their encounters with their environment. Sports authors come from every spectrum of southern society, but their common vocabulary and shared enthusiasm bond them together. Rivers corrects unfortunate stereotypes of hunters as indifferent to aspects of nature other than environmental exploitation. Whether humorists or serious advocates, these authors reveal their sense of their place in the wild, and many advocate ecological good citizenship that disdains wanton slaughter and unethical practices. They condemn such acts as beneath the dignity and honor of true sportsmen. The collection includes accounts of hunting many types of game indigenous to the South from 1830 to 1910, from aristocratic foxhunts to yeoman deer drives. The structure is largely chronological, beginning with John James Audubon’s essay on the American wild turkey from his Ornithological Biography (1832) and ending with stories from Alexander Hunter’s The Huntsman in the South (1908). Whatever their era, the chief characteristics of these sporting accounts are the excitement the authors experience upon suddenly encountering game, the rigors and hardships they endure in its pursuit, their keen powers of observation of the woods and waters through which they travel, and the comedy often found in the strong friendships that frequently mark their adventures. But above all the tales resonate with a reverence for field sports as the means through which humans establish meaningful and lasting relationships with the mysteries and the magic of nature.