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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.
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.
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.
Modernism and Modernity in Anglophone Fiction, 1958-1988
Brian T. May argues that, contrary to widely held assumptions of postcolonial literary criticism, a distinctive subset of postcolonial novels significantly values and scrupulously explores a healthy individuality. These “extravagant” postcolonial works focus less on collective social reality than on the intimate subjectivity of their characters. Their authors, most of whom received some portion of a canonical western education, do not subordinate the ambitions of their fiction to explicit political causes, but they do create a cosmopolitan rhetorical focus suitable to their well-educated, “western trained,” audiences. May pursues this argument by scrutinizing novels composed during the thirty-year post-independence postcolonial era of Anglophone fiction, a period that began with the Nigerian Chinua Achebe’s Things Fall Apart and that ended, many would say, with the Ayatollah Khomeini’s 1989 publication of the Rushdie Fatwa. He contends that the postcolonial authors under consideration—Naipaul, Rushdie, Achebe, Rhys, Gordimer, and Coetzee—inherited modernism and refashioned it. His account of their work demonstrates how it reflects and transfigures modernists such as Conrad, Eliot, Yeats, Proust, Joyce and Beckett. Tracing the influence of humanistic virtues and the ethical and aesthetic significance of individualism, May demonstrates that these works of “extravagant postcolonialism” are less postcolonial than they are a continuation and evolution of modernism.
The historical Ezra was sent to Jerusalem as an emissary of the Persian monarch. What was his task? According to the Bible, the Persian king sent Ezra to bring the Torah, the five books of the Laws of Moses, to the Jews. Modern scholars have claimed not only that Ezra brought the Torah to Jerusalem, but that he actually wrote it, and in so doing Ezra created Judaism. Without Ezra, they say, Judaism would not exist. In Ezra and the Law in History and Tradition, Lisbeth S. Fried separates historical fact from biblical legend. Drawing on inscriptions from the Achaemenid Empire, she presents the historical Ezra in the context of authentic Persian administrative practices and concludes that Ezra, the Persian official, neither wrote nor edited the Torah, nor would he even have known it. The origin of Judaism, so often associated with Ezra by modern scholars, must be sought elsewhere. After discussing the historical Ezra, Fried examines ancient, medieval, and modern views of him, explaining how each originated, and why. She relates the stories told about Ezra by medieval Christians to explain why their Greek Old Testament differs from the Hebrew Bible, as well as the explanations offered by medieval Samaritans concerning how their Samaritan Bible varies from the one the Jews use. Church Fathers as well as medieval Samaritan writers explained the differences by claiming that Ezra falsified the Bible when he rewrote it, so that in effect, it is not the book that Moses wrote but something else. Moslem scholars also maintain that Ezra falsified the Old Testament, since Mohammed, the last judgment, and Heaven and Hell are revealed in it. In contrast Jewish Talmudic writers viewed Ezra both as a second Moses and as the prophet Malachi. In the process of describing ancient, medieval, and modern views of Ezra, Fried brings out various understandings of God, God’s law, and God’s plan for our salvation.