Amos Wilder, a distinguished New Testament scholar and poet, was only a youth when he volunteered to serve as an ambulance driver with the American Field Service during World War I and then became a corporal in the Army's 17th Field Artillery of the 2nd Division. His journals and letters home (including correspondence with his younger brother, Thornton Wilder) form the basis of this book of reminiscences about his experiences, one of the few wartime memoirs that eloquently articulates and interprets the common soldier's point of view. As an ambulance driver, Wilder traveled from the western front to the mountains of Macedonia, where his memoir sheds light on the many nations, races, and religions involved in the conflict in that turbulent region. After the United States entered the war, Wilder, now the soldier, participated in the decisive 1918 actions at Belleau Wood, Soissons, and the closing Argonne drive. His journals provide a brilliant panorama of the activities and people behind the lines, an often arresting portrayal very different from the scenes of death in the trenches that others have described. Throughout, Wilder explores in a fresh and provocative way larger questions about the enduring meaning of a shattering event in world history remembered by himself and others as an encounter with "Armageddon."
Faith in the Fight tells a story of religion, soldiering, suffering, and death in the Great War. Recovering the thoughts and experiences of American troops, nurses, and aid workers through their letters, diaries, and memoirs, Jonathan Ebel describes how religion--primarily Christianity--encouraged these young men and women to fight and die, sustained them through war's chaos, and shaped their responses to the war's aftermath. The book reveals the surprising frequency with which Americans who fought viewed the war as a religious challenge that could lead to individual and national redemption. Believing in a "Christianity of the sword," these Americans responded to the war by reasserting their religious faith and proclaiming America God-chosen and righteous in its mission. And while the war sometimes challenged these beliefs, it did not fundamentally alter them. Revising the conventional view that the war was universally disillusioning, Faith in the Fight argues that the war in fact strengthened the religious beliefs of the Americans who fought, and that it helped spark a religiously charged revival of many prewar orthodoxies during a postwar period marked by race riots, labor wars, communist witch hunts, and gender struggles. For many Americans, Ebel argues, the postwar period was actually one of "reillusionment." Demonstrating the deep connections between Christianity and Americans' experience of the First World War, Faith in the Fight encourages us to examine the religious dimensions of America's wars, past and present, and to work toward a deeper understanding of religion and violence in American history.
Although he surprised the world in 1866 with his first published book of poetry, Battle-Pieces and Aspects of the War, Herman Melville had long been steeped in poetry. This new offering in the authoritative Northwestern-Newberry series, The Writings of Herman Melville, with a historical note by Hershel Parker, is testament to Melville the poet. Penultimate in the publication of the series, Published Poems follows the release of Melville’s verse epic, Clarel (1876), and with it, contains the entirety of the poems published during Melville’s lifetime: Battle-Pieces, as well as John Marr and Other Sailors, with Some Sea-Pieces (1888), and Timoleon Etc. (1891). Battle-Pieces and Aspects of the War has long been recognized as a great contribution to the poetry of the Civil War, comparable only to Whitman’s Drum-Taps. Its idiosyncrasies, many of them grounded in British poetry, kept it from immediate popularity, but it was not the production of a novice. Melville had made himself over into a poet in the late 1850s and had tried to publish a previous collection of poetry—now lost—in 1860. John Marr and Other Sailors is a retrospective nautical book. Its portraits of sailors were influenced by Melville’s own experience of aging as well as by his long acquaintance with wasted mariners at the Sailors’ Snug Harbor on Staten Island, where his brother was governor. The book modulates into "Sea-Pieces," including the grisly "Maldive Shark" and "To Ned," a powerful reflection on how Melville’s personal adventures with the Typee islanders in 1842 had accrued rich historical significance over the decades. Thematically less unified, Timoleon Etc. contains poems with many European and exotic settings from ancient to modern times. The most famous are "After the Pleasure Party" and "The Age of the Antonines." Published in the last year of Melville’s life, some of the poems were first written many years earlier; for example, Melville copied "The Age of the Antonines" out for his brother-in-law in 1877, describing it as something found in a bundle of old papers. One whole section seems to have been almost entirely salvaged from the unpublished 1860 volume of poetry. As with the other volumes in the Northwestern-Newberry series, the aim of this edition of Published Poems is to present a text as close to the author’s intention as surviving evidence permits. To that end, the editorial appendix includes a historical note by Hershel Parker, the dean of Melville scholars, which gives a compelling, in-depth account of how one of America’s greatest writers grew into the vocation of a poet; an essay by G. Thomas Tanselle on the printing and publishing history of the works in Published Poems; a textual record that identifies the copy-texts for the present edition and explains the editorial policy; and substantial scholarly notes on individual poems.
The poems in this collection establish Robert Graves' reputation as a war poet. (He is one of sixteen poets of World War I commemorated on the stone in Poet's Corner, Westminster Abbey.) Yet Graves omitted all of them from his own collections after 1927 in an effort to put the war behind him. William Graves, his son, has edited this completely new volume, including many of the marginal notes from Robert;s library copies. Appendices include bibliographic detail, the publication record, and variant forms of the poems.
The graphic artist Margaret Rigg met Amos Wilder through The Society for Arts, Religion and Contemporary Culture (ARC), of which Wilder, together with such figures as Joseph Campbell and Paul Tillich, was a founder in the early 1960s. In 1978 Rigg published Imagining the Real, a limited edition (350 copies with designs) as an expression of "homage" to Wilder with a special emphasis on his poetry. This unusual publication includes an extensive interview between Rigg and Wilder covering his upbringing and its influence on his life as a writer and poet; an original essay by Wilder on themes suggested by the interview ("A Comment . . ."); six poems by Wilder selected to depict shifting sensibilities over his six-decades-long career as a practicing poet; and a lively self-annotated overview of his life and career ("Wilderiana: Dates and Places"). The volume concludes with poems dedicated to Wilder by Stanley Romaine Hopper and Arnold Kenseth. Long known only to students of Amos Wilder and his family, the republication of Imagining the Real makes available to a broader public an unusual window on the story of Amos Wilder, poet.
Amos Wilder is widely known as a pioneer of an indigenously North American approach to biblical interpretation which takes language to be an expression not only of psychological but also of sociological and concrete reality. Recording the history of his interest in eschatological language, Wilder further advances the literary and rhetorical criticism of Scripture, especially by alerting interpreters to the deeper modes of language and communication often overlooked. The essays in this volume, recaptured and edited to clarify their relatedness, are presented in two groups. The first group includes essays that situate the parables of Jesus within the broader context of the biblical narrative. The second is a series of essays dealing with the problem of adequately interpreting the "kingdom language" of Jesus. The book includes an essay in which Wilder chronicles and advances his long interest in the task of doing justice to the imaginative dimension of biblical language. Wilder develops a contemporary hermeneutic that combines the full range of historical-critical methods with approaches generated by various modern disciplines which attempt to do full justice to the interrelationship of language and reality. The preface by James Breech offers an exposition of the main features of Wilder's hermeneutic, together with a discussion of Wilder's understanding of parabolic narrative and Jesus' symbolics.
One part mixtape, one part disorientation guide, and one part career retrospective, Kyle "Guante" Tran Myhre's debut looks you directly in the eye and doesn't let you flinch. Ranging from justice to love, community action to personal reflection, A Love Song, A Death Rattle, A Battle Cry is a dedication to craft. Clocking in before the rest of us are even awake, the book wastes no time. It does the work and beckons you to follow. A compilation of poems, lyrics and essays from the UN presenter, MC, and two-time National Poetry Slam champion, this book is a love song tucked into a grenade, a necessary call that demands a response.
