Austrian toponymist Bernhardt Fingerberg makes his way back to civilization following a solo expedition out on Vatnajokull Glacier, barely alive. While recuperating, Dr. Lassi digs into the scholar's strange trek into the treacherous mountainous wasteland of Iceland: Öræfi. Was he really researching place names out there, or retracing the footsteps of a 20-year-old crime involving someone very close to him?
The Amateur Scientist's Notebook employs sharp lyricism and formal ingenuity to interrupt and intertwine narrative logic, and in doing so he creates an experience of the world, a story of lives that don't move forward in a linear fashion but are knocked off balance by fragments of past and future selves, science, nature. Fragmented yet familiar these poems become "acts of attention that carry, often indistinguishably, great beauty and disillusion." Ecological, these poems do the hard work of affirming humanity as natural phenomena in all of its volatility and symmetry.
Fiction. Spanning two decades, BREATH LIKE THE WIND AT DAWN tells the epic story of the Tamplin family of outlaw-twins Quinn and Irving; their brother Edward, who is on the run from a dark past; and their mother Annora, who has been left to defend their haunted Minnesota homestead. Yet at the center of the novel is Les, patriarch of the Tamplins, Civil War veteran, and sheriff of Utica, who is possessed by an indelible lust to strangle his victims. Only when the brothers set about to rob Utica's bank will the family at last converge in an unforgettable finale when blood will be met with blood. Combining the multi-perspective family drama of As I Lay Dying with the violent lyricism of Blood Meridian, BREATH LIKE THE WIND AT DAWN brings a brave new voice to American fiction.
Ten years before the start of the American Revolution, backcountry settlers in the North Carolina Piedmont launched their own defiant bid for economic independence and political liberty. The Regulator Rebellion of 1766-71 pitted thousands of farmers, many of them religious radicals inspired by the Great Awakening, against political and economic elites who opposed the Regulators' proposed reforms. The conflict culminated on May 16, 1771, when a colonial militia defeated more than 2,000 armed farmers in a pitched battle near Hillsborough. At least 6,000 Regulators and sympathizers were forced to swear their allegiance to the government as the victorious troops undertook a punitive march through Regulator settlements. Seven farmers were hanged. Using sources that include diaries, church minutes, legal papers, and the richly detailed accounts of the Regulators themselves, Marjoleine Kars delves deeply into the world and ideology of free rural colonists. She examines the rebellion's economic, religious, and political roots and explores its legacy in North Carolina and beyond. The compelling story of the Regulator Rebellion reveals just how sharply elite and popular notions of independence differed on the eve of the Revolution.
Many Excellent People examines the nature of North Carolina's social system, particularly race and class relations, power, and inequality, during the last half of the nineteenth century. Paul Escott portrays North Carolina's major social groups, focusing on the elite, the ordinary white farmers or workers, and the blacks, and analyzes their attitudes, social structure, and power relationships. Quoting frequently from a remarkable array of letters, journals, diaries, and other primary sources, he shows vividly the impact of the Civil War, Emancipation, Reconstruction, Populism, and the rise of the New South industrialism on southern society. Working within the new social history and using detailed analyses of five representative counties, wartime violence, Ku Klux Klan membership, stock-law legislation, and textile mill records, Escott reaches telling conclusions on the interplay of race, class, and politics. Despite fundamental political and economic reforms, Escott argues, North Carolina's social system remained as hierarchical and undemocratic in 1900 as it had been in 1850.
In the decades before the U.S. Civil War, the city of Boston evolved from a dilapidated, haphazardly planned, and architecturally stagnant provincial town into a booming and visually impressive metropolis. In an effort to remake Boston into the "Athens of America," neighborhoods were leveled, streets straightened, and an ambitious set of architectural ordinances enacted. However, even as residents reveled in a vibrant new landscape of landmark buildings, art galleries, parks, and bustling streets, the social and sensory upheaval of city life also gave rise to a widespread fascination with the unseen. Focusing his analysis between 1820 and 1860, Justin T. Clark traces how the effort to impose moral and social order on the city also inspired many—from Transcendentalists to clairvoyants and amateur artists—to seek out more ethereal visions of the infinite and ideal beyond the gilded paintings and glimmering storefronts. By elucidating the reciprocal influence of two of the most important developments in nineteenth-century American culture—the spectacular city and visionary culture—Clark demonstrates how the nineteenth-century city is not only the birthplace of modern spectacle but also a battleground for the freedom and autonomy of the spectator.
Exploring the mental worlds of the major groups interacting in a borderland setting, Cynthia Cumfer offers a broad, multiracial intellectual and cultural history of the Tennessee frontier in the Revolutionary and early national periods, leading up to the era of rapid westward expansion and Cherokee removal. Attentive to the complexities of race, gender, class, and spirituality, Cumfer offers a rare glimpse into the cultural logic of Native American, African American, and Euro-American men and women as contact with one another powerfully transformed their ideas about themselves and the territory they came to share. The Tennessee frontier shaped both Cherokee and white assumptions about diplomacy and nationhood. After contact, both groups moved away from local and personal notions about polity to embrace nationhood. Excluded from the nationalization process, slaves revived and modified African and American premises about patronage and community, while free blacks fashioned an African American doctrine of freedom that was both communal and individual. Paying particular attention to the influence of older European concepts of civilization, Cumfer shows how Tennesseans, along with other Americans and Europeans, modified European assumptions to contribute to a discourse about civilization, one both dynamic and destructive, which has profoundly shaped world history.
The 2020 issue showcases North Carolina expatriate writers, ranging from Harriet Jacobs, who moved north to escape enslavement in North Carolina to Glenis Redmond, who developed her poetic voice during her years living here in North Carolina and now travels over 35,000 miles a year bringing poetry to the masses, thus earning the title Road Warrior Poet." Between, find essays on other writers with North Carolina roots: Charles Chesnutt, Tony Earley, Lionel Shriver, and Stephanie Powell Watts. Read retired Emory Professor/Goldsboro native Jim Grimsley's interview with retired LSU Professor/Goldsboro native Moira Crone, featuring her own art. This interview was selected by Elaine Neil Orr to receive the 2020 John Ehle Prize. The issue's cover art is by A.R. Ammons, an Eastern North Carolina poet who spent most of his career teaching at Cornell University in Ithaca, NY. Also interviewed: Durham native/novelist/California television writer Gwendolyn Parker; poet Allison Adelle Hedge Coke, from her current residence in Hawaii; longtime Texas resident Ben Fountain, talking about growing up in Eastern North Carolina; and Raleigh native Mary Robinette Kowal, recipient of the three biggest speculative fiction awards, the Hugo, Nebula, and Locus, for her novel The Calculating Stars. Bringing up the oft-heard North Carolina remark, "You can't throw a rock in this state without hitting a writer," Editor Margaret Bauer notes, "It turns out that it might be dangerous for North Carolina writers if rocks are thrown anywhere, not just within the state's borders. The Old North State seems a fertile starting point, even if some writers do not remain." Despite these authors branching off to places far from Tar Heel soil, their writing roots are deep in North Carolina, and North Carolina has left its mark. The subject of one essay, Watts, for example, describes her novel as "The Great Gatsby set in rural North Carolina." And Hedge Coke says, "I am never really away from the land and waters there. ... Closing my eyes, [North Carolina] is always present." The Flashbacks section of the issue includes the 2019 James Applewhite Poetry Prize winner, "Meditation in a Glass House" by Wayne Johns; the other finalists selected for honors; and new poetry by the namesake of the award, James Applewhite, and former North Carolina Poet Laureate, Fred Chappell; the 2019 Doris Betts Fiction Prize winning short story "Something Coming" by Katey Schultz; the premiere Paul Green Prize essay by Rachel Warner about renowned author Zora Neale Hurston's brief residence in North Carolina; and an interview with Charlotte writer/musician Jeff Jackson.
