08
Dec 17

Another Kind of Fiction: Ed Falco and Wolf Moon Blood Moon

Wolf Moon Blood Moon is a debut poetry collection, but I’ve been reading and writing poetry since I was a teenager. It wasn’t until grad school at Syracuse University, in my mid- to late- twenties, when I came under the influence of the writer George P. Elliott, that I fell deeply in love with the short story and started focusing most of my writing energy on fiction. Even during those years, I wrote very short stories—pieces ranging from a paragraph to a few pages—and much of that work was published in literary journals as prose poems. For a long time, I thought of fiction as writing that emphasized characters living through, and usually being changed by, a significant moment or event or series of events in their lives; and I thought of poetry as writing that emphasized the use and arrangement of language in patterns of meaning, with the focus on language and meaning rather than on character and event. I still find that largely true, but these days I’ve come to think of all writing as one kind of fiction or another.

For me, the act of writing is always an act of invention shaped by a set of constraints, is a daily meditation, a way of thinking about my relationship to the world. Always, I’m trying to say something that’s true by listening to what I’m writing as I’m writing, by discovering the direction of the writing and being directed by my discoveries. And when things are going well, this seems to come from someplace below the level of consciousness. That’s the great pleasure of writing, the immersion in that creative space. Truth in that space, for me at least, is never the truth of what actually happened, but rather the truth that evolves out of the relationship between invention and design. A play has one kind of design (or set of constraints), poetry another, short fiction another, the novel another, etc., and each genre, each form, leads to a different kind of dreaming and another kind of fiction. Poetry is an especially intense kind of dreaming, which is why I read it with exponentially greater regularity than I attempt writing it.

I have scores of favorite poets and favorite poems, and I read them first of all for the experience I find in the reading, and second for what I can learn from them about how to write. The great poets are, of course, also the great teachers. (I don’t know how many times I’ve read and reread Theodore Roethke’s The Lost Son, but I’ve worn out a least a couple of editions.) The list below, however, is made up of ten contemporaries, all of them, with the exceptions of Ai and Claudia Emerson, still living and writing. They’re poets I read because I admire their work, and because I like trying to figure out just how they achieve such powerful effects with such regularity. I’ll highlight one of their books, but in every case the whole body of their work is worth exploring. Unfortunately, there’s not enough room or time to list every contemporary poet I admire, let alone even a smattering of the magnificent voices that still speak to us across the ages, but hopefully this will be a good starting place.


Ai, Sin (Houghton Mifflin Harcourt, 1986). A magnificent story teller, Ai’s poems are daring explorations of the complex and often troubling recesses of the self, told through the appropriated voices of others. She’s a poet to read for her riveting dramatic monologues as well as the forthright, powerful, and convincing use of plain, austere language.

Denise Duhamel, Two and Two (University of Pittsburgh Press, 2005). It’s hard to pick one collection of Duhamel’s to single out for praise, but I’ll go with Two and Two for the stunning 9/11 poem, “Love Which Took Its Symmetry for Granted.”  Duhamel’s mastery of poetic forms, received and invented, is on display in this poem’s weaving of multiple voices into a chaotic narrative that captures the essence of that shocking moment and its effect on the American psyche. Duhamel is a wonder, and this is one of her best collections.

Stephen Dobyns, Black Dog Red Dog (Carnegie Mellon UP, 1990). Another terrific story teller, Dobyns is a writer to read for his use of the long line in poems that straddle the boundary between poetry and prose. With language that is subtly musical and bold, Dobyns’ poems speak with the power of the best, most concise, fiction.

Claudia Emerson, Late Wife (LSU Press, 2005). Late Wife is a book of poems that somehow manages to harness the narrative scope of a novel and the precise, compact language of a sonnet in chronicling the dissolution of a first marriage and start of a second. This is a book I’ve returned to again and again both for its imagery and its insight, for the way it speaks about the personal and makes it universal.

Alice Fulton, The Powers of Congress (Sarabande Books, 2001). Fulton is a magician who writes complex, multifaceted poems that explore a daunting range of subjects in a variety of poetic voices. There seems to be absolutely nothing she can’t do or won’t try. One hardly knows where to start praising the poems or the striking intelligence that informs them. I’m singling out Powers of Congress because it was my introduction to Fulton’s poetry, but since that collection she has continued to produce a body of stunning work. Start anywhere.

Stephen Gibson, Self-Portrait in a Door Length Mirror (University of Arkansas Press, 2017). I haven’t yet encountered a formalist poet more accomplished than Stephen Gibson. In this, his most recent collection, selected by Billy Collins as winner of the Miller Williams Prize, he writes carefully constructed poems of stunned outrage at the violence humanity has always endured and commonly condoned.  The deep interest of Gibson’s poetry through all his collections is the chaos of the human heart; and here, in Self-Portrait in a Door-length Mirror, he writes in full command of his subject and its formal expression.

David Kirby, House on Boulevard St. (LSU Press, 2007). Kirby’s big, inclusive, generous voice is irresistible. I love what the National Book Award committee wrote about Boulevard Street and happily repeat it here: “Digression and punctiliousness, directed movement and lollygagging, bemusement and piercing insight are among the many paradoxical dualities that energize and complicate the locomotion of his informed, capacious consciousness.” I especially like the use of “locomotion” in describing Kirby’s work. His poems often move like a locomotive rumbling across some new territory: you never know what you’ll see next out the window, but on Kirby’s train you can bet it will be entertaining and informative and you won’t be able to turn away.

Sharon Olds, Satan Says (University of Pittsburgh Press, 1980). With a frankness that can at times be shocking, Olds explores states both emotional and sexual with great intensity. Her control of language, her magisterial manipulation of the line and image, her powerful figurative language as well as her direct, forthright speech, her skills both narrative and lyric—all are impressive and moving.

Natasha Trethewey, Native Guard (Mariner Books, 2007). In Requiem for a Nun, Faulkner wrote his two most commonly quoted sentences: “The past is never dead. It’s not even past.” He might well have been talking about Natasha Trethewey’s poetry, a body of work that explores the historical and personal in meticulously constructed, deeply affecting poems. These are poems to read for their craft, their power, and their insight into the many ways in which the past clings to the present.

Robert Wrigley, In the Bank of Beautiful Sins (Penguin Books, 1995). Wrigley’s sensual language is often so exact and accurate in its depiction of the natural world that the experience of reading feels visceral. I first read In the Bank of Beautiful Sins more than twenty years ago, but I return to it often to remind myself of the immense power of carefully chosen words to render a story unforgettable.


Ed Falco lives in the mountains of Blacksburg, Virginia. He teaches in the MFA program at Virginia Tech and edits the New River, an online journal of new media writing. A poetry contributor to the Southern Review, he has also published novels, short stories, and plays.

Buy Wolf Moon Blood Moon today and don’t forget to follow LSU Press on TwitterInstagram, and Facebook!


01
Dec 17

Military Occupation, Emancipation, and the Civil War: Essential Scholarship

Historians of the American Civil War have authored an impressive and increasingly complex history of the common soldiers who waged the conflict. Explaining soldiers’ motivations to enlist, charting their steadfast commitment to the respective national causes, unfolding their multifaceted views on race and emancipation, and placing citizen-volunteers within their mid-nineteenth-century world, the rich scholarship on soldiering during the Civil War seems remarkably comprehensive. My new book In the Wake of War: Military Occupation, Emancipation, and Civil War America draws on this resonant scholarly tradition to investigate how United States soldiers understood the era’s wars of military occupation, the layered conflicts waged well beyond the front lines. The book contends that military occupation—a central and contested component of our modern military tradition—is not a dead artifact of the American past.

In the Wake of War engages the perspectives of United States soldiers who served in three separate yet intimately connected military conflicts: the Mexican-American War, Civil War, and Reconstruction. The book thus aims to link the American Civil War to its broader cultural context, revealing how the events of 1861 to 1865 were shaped by a military ethos that preceded secession and which continued to influence the dawn of peace after Appomattox. The book argues strongly for the continuity of republican military culture from which historical actors gauged military occupation at once against the citizen-soldier tradition and the long-standing fears of standing armies, each of which posed significant implications for the conduct of occupation, the composition of volunteer armies, and the processes of state-sanctioned social and political change.

Approaching military occupation through the eyes of the occupier—rather than the occupied— reveals a war within a war, a conflict fraught with its own unique traits and spirit. These wars of occupation were just as complex, dynamic, and consequential as those waged on the front lines. Exploring how United States soldiers, who reflected the broader society from which they came, interpreted occupation on both ideological and practical grounds reveals an in-the-ranks perspective on an unprecedented role of American armies in international and domestic wars and crises. This history of military occupation thus reveals how occupation brought soldiers face-to-face with a host of critical problems in nineteenth-century America: the relationship between citizen and government; the balance between republican corporatism and democratic individualism; faith in the exceptional nature of Union; the complications of race in a white democracy; the intricate negotiation of gender roles; the limits of free-market capitalism; the boundaries of restricted warfare; the military’s simultaneously celebrated and ambivalent place in international affairs and domestic life; the role of standing armies in the American imagination; and the uncertain scope of the federal state in the nebulous transition from war to peace.

In the Wake of War contributes especially to a time-honored conversation on emancipation—particularly Abraham Lincoln’s Emancipation Proclamation—and the enlistment of African American soldiers into Union armies. Race emerged as a central feature of the occupation experience. The book engages how the Proclamation spoke to white anxieties about military occupation, which shaped how African American men were integrated into federal armies and how they designed their own conceptions of military service and the purpose of military force.  The mass enlistment of African American soldiers pushed white leaders to define service in auxiliary forces along lines of race. The politics and rhetoric of emancipation served to confine black troops to limited roles, including the “dishonorable” duties of service behind the lines. Yet in so doing, black soldiers emerged on the front lines of occupation, using their new-found martial authority to great advantage in unbalancing traditional power dynamics in the South. African American occupiers defied the racial status quo and, from the points of their bayonets, destabilized the very society once guilty of their enslavement, underscoring the stunning impact of wartime emancipation.


While the act of writing history is often a solitary and sometimes lonely exercise, I am grateful to the community of scholars who have so richly influenced In the Wake of War. The following books (in addition to so many others) have shaped my own historical philosophy and have underwritten many of the arguments in the book.

Gary W. Gallagher, The Union War (Harvard University Press, 2011). Perhaps no other scholar has shaped my thinking on Civil War history more than Gary Gallagher. Emphasizing the idea of Union—the loyal citizenry’s conception of the American republic as the world’s unique experiment in democratic republicanism—Gallagher’s work reminds us that the Union’s war was conducted on the basis of limitation, guided by a degree of restraint, and always measured with an eye toward peace and a restoration of the republic. Emancipation, death of the “Slave Power,” and the enlistment of African American soldiers emerged as unanticipated but critical elements in this war for Union. Gallagher’s insistence on the contemporary power of Union in the loyal imagination, coupled with his belief that military institutions and affairs should assume a central place in our narratives, guide the intellectual basis of In the Wake of War.

Mark Grimsley, The Hard Hand of War: Union Military Policy toward Southern Civilians, 1861-1865 (Cambridge University Press, 1995). Grimsley’s book was one of the first to treat Civil War-era military occupation as a problem of federal policy. Exposing the complex nature of waging wars against hostile civilians, Grimsley demonstrated the profound challenges of employing volunteer soldiers in nineteenth-century wars of invasion and occupation.

Stephen V. Ash, When the Yankees Came: Conflict and Chaos in the Occupied South, 1861-1865 (University of North Carolina Press, 1995). Published the same year as Grimsley’s Hard Hand of War, Ash’s treatment of occupation focuses primarily on the social and political changes incurred at the southern grassroots. Like Grimsley, Ash compelled scholars to see how Union occupation unleashed rival power dynamics in the Confederate South and layered the region with competing loyalties contingent on proximity and reach of federal armies.

Mark E. Neely, Jr. The Civil War and the Limits of Destruction (Harvard University Press, 2007). Like Grimsley and Ash, Neely’s work sought to rewrite old Lost Cause narratives that indicted the Civil War as an unlimited total war. Placing the conflict within broader hemispheric, cultural, and racial contexts, Neely encouraged readers to see that the Civil War’s white combatants placed remarkable restraints on their conduct, limiting and reducing the scale of wartime devastation. The book, like In the Wake of War, suggests that American conduct during the invasion of Mexico was far different from that which occurred during the Civil War and Reconstruction.

William W. Freehling, The South vs. the South: How Anti-Confederate Southerners Shaped the Course of the Civil War (Oxford University Press, 2001). While I relied on the expansive literature concerning the processes of emancipation and the enlistment of African American soldiers into Union armies, no book sparked my thinking on the Emancipation Proclamation like Freehling’s work. Freehling pushed me to read deeply into the Proclamation, locating obscure and subtle meanings in Lincoln’s call for black troops, the implications of which shaped how occupation unfolded during both the Civil War and Reconstruction.

Mark Wahlgren Summers, The Ordeal of the Reunion: A New History of Reconstruction (University of North Carolina Press, 2014). Like Gallagher’s work, Summer’s treatment of Reconstruction understands the concept of Union as the driving force of mid-nineteenth-century life. Occupation in the transition from war to peace thus inhabited a foreign space for loyal citizens who looked with skepticism at a powerful, expensive military state managing political affairs and regulating social conditions in the guise of what they imagined as an imposing standing army. Such institutions were antithetical to the very idea of Union preserved during the war.

Gregory P. Downs, After Appomattox: Military Occupation and the Ends of War (Harvard University Press, 2015). Arguing that the war continued in a legal form in the months and years after Appomattox, Downs sees United States Army that occupied the southern states as the central institution in preserving the promise of emancipation. Only the army, as an extension of the federal state, could manage the chaos of Confederate defeat and provide critical safety to freedpeople embarking on new lives of liberation. But Downs recognizes, much like Summers and myself, that the very military power necessary to manage a robust occupation was stripped by a broader culture of democratic republicanism that looked askance at powerful domestic military institutions.

Andrew S. Bledsoe, Citizen-Officers: The Union and Confederate Junior Officer Corps in American Civil War (Louisiana State University Press, 2015). I went to graduate school with Drew Bledsoe, with whom I have spent untold hours discussing the culture and ideology of the citizen-soldier in the early American and Civil War experiences. My understanding of citizenship, volunteer soldiering, and the republican military ethos—hallmarks of both his and my books—are drawn from our many conversations about the existing literature.

Numerous scholars recently have published excellent books on military occupation during the American Civil War. I have benefited greatly from their work and our mutual conversations. They all deserve mention here because their scholarship assumes a prominent place in the framing and conclusions of In the Wake of War.

  • Judkin Browning, Shifting Browning: The Union Occupation of Eastern North Carolina (University of North Carolina Press, 2011)
  • Bradley R. Clampitt, Occupied Vicksburg (Louisiana State University Press, 2016)
  • Joseph W. Danielson, War’s Desolating Scourge: The Union’s Occupation of North Alabama (University Press of Kansas, 2012)
  • H. Dilbeck, A More Civil War: How the Union Waged a Just War (University of North Carolina Press, 2016)
  • Earl J. Hess, The Civil War in the West: Victory and Defeat from the Appalachians to the Mississippi (University of North Carolina Press, 2012)
  • Michael D. Pierson, Mutiny at Fort Jackson: The Untold Story of the Fall of New Orleans (University of North Carolina Press, 2009)

Andrew F. Lang is assistant professor of history at Mississippi State University.

Buy In the Wake of War today and don’t forget to follow LSU Press on TwitterInstagram, and Facebook!


30
Nov 17

November Roundup: News, Events, Reviews

November was quite a month here at LSU Press! Visitations by Lee Upton was a finalist in the short story category of the American Book Fest’s Best Book Awards. A poem from Ed Falco’s new book was featured on Poem-a-Day. Samuel C. Hyde wrote an article for the Washington Post. Brannon Costello, Lisa Hinrichsen, Gina Caison, and Stephanie Rountree, and Sally Van Doren wrote fantastic posts for the LSU Press Blog. And we published new books by Bryan Giemza and Maria Hebert-Leiter, Peter O’Connor, Lisa Hinrichsen, Gina Caison, and Stephanie Rountree, Susannah J. Ural, Kristen Brill, David R. Slavitt, and James Applewhite.

Below you’ll find a list of our December titles, upcoming events with our authors, and some recent publicity and reviews of our books. If you want to keep up with the press in real time, follow us on TwitterInstagram, and Facebook!

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Selected Publicity and Praise

 Promise: Poems by Sally Van Doren

“St. Louisan Sally Van Doren’s third collection Promise features smart poems that bring a cheeky edge to the theme of domestic bliss. By-and-large tender poems of praise for familial love, they accomplish this celebration by telling the truth about it, dirty laundry included.”—Saint Louis Post-Dispatch

Voodoo and Power in New Orleans: The Politics of Religion in New Orleans, 1881-1940 by Kodi A. Roberts

“His careful study contributes to on-going scholarly efforts to better situate African diasporic religions within their immediate social settings and in the context of practitioners’ everyday struggles and desires.”—Nova Religio

Maintaining Segregation: Children and Racial Instruction in the South, 1920-1955 by LeeAnn G. Reynolds

“This ambitious study sheds light on how Jane and Jim Crow circumstances conditioned the South’s black and white younger inhabitants to manage racial inequality in the decades preceding the Civil Rights Movement. . . . The author displays an excellent familiarity with existing scholarly literature, and her arguments are cogent. . . . the narrative reads well, is engaging, and adds depth to the current understanding of a complex place and time.”—CHOICE

Civil War Logistics: A Study of Military Transportation by Earl J. Hess

“In Hess’s study one can find both a sound survey history of Civil War military transportation and a revealing quantitative analysis leading readers to the inescapable conclusion that the Union logistical network outperformed its foe’s in every possible way. Civil War Logistics is highly recommended.”—Civil War Books and Authors

Cityscapes of New Orleans by Richard Campanella

“Anyone with a library of books on New Orleans will want this one. And unlike some other reference books, Campanella’s is destined to be one that comes off the shelf over and over again.”—New Orleans Advocate

Remembering Reconstruction: Struggles Over the Meaning of America’s Most Turbulent Era edited by Carole Emberton and Bruce E. Baker

“Taken together, these deeply researched and cogently written essays comprise a kind of magic lantern that illuminates how many of today’s contentious social issues, like equality before the law, concepts of race, and rights of citizenship, were born during those tumultuous years.”—America’s Civil War

The Army of the Potomac in the Overland & Petersburg Campaigns by Steven E. Sodergren

“This is a solid, major contribution to our understanding of why men fought and how they were affected by and adapted to changing wartime conditions.”—NYMAS Review

The Secret Life of Bacon Tait a White Slave Trader Married to a Free Woman of Color by Hank Trent.

“Trent excels in re-creating the world of antebellum fortune-hunters like Tait. Lynchburg and the Richmond slave trade are diligently explored. A reader curious for more details as to how the trade worked (especially in terms of the operation of slave jails or “pens”) will find this small book an excellent resource. Trent makes it easy to imagine a grimy place of petty cruelties and vast injustices, where virtually every interaction possible within the boundaries of the peculiar institution might be found, all within a city block.”—Civil War News

Stepdaughters of History: Southern Women and the American Civil War by Catherine Clinton

“Clinton reminds us of the significant work that has been done as well as the significant work that remains to be done in original research, textbook publications, and college lectures. Those invited to give Fleming Lectures are known for their bold and original scholarship, and Catherine Clinton is no exception.”—Journal of Southern History

John Pendleton Kennedy: Early American Novelist, Whig Statesman, and Ardent Nationalist by Andrew R. Black

“Andrew R. Black has deftly taken the memory of a man who has lain dormant in Baltimore’s Green Mount Cemetery since 1870 and has breathed new life into Kennedy’s legacy as an important American literary and political figure.”—Journal of Southern History


17
Nov 17

Finding Promise in Poetry

It’s rare that I write a poem that doesn’t in some way draw upon the work I have read by other poets, writers or artists, be they living or dead, famous or lesser known. Throughout the house, small stacks of books and magazines of poetry, essays, art catalogs, fiction and non-fiction, entice me to spend time with them every day.  While reading, I keep a running list of words and phrases that inspire me, spark my interest or look like they might be good source material for one of my own poems.

In my third collection, Promise, the titles of several of my poems owe debts to other writers’ works. For instance, “Housewife as Poet” came about after I read “Poet as Housewife” in a 2009 issue of Poetry magazine written by contemporary Dutch poet Elisabeth Eybers. For another poem title, I borrowed the phrase “The Book of Usable Minutes” from the first line of the poem, “Train Rising Out of the Sea” by late great John Ashbery. After reading the artist Jenny Holzer’s truisms in her “The Living Series” and “Laments,” I re-purposed her words and phrases in two of my poems. As Trent Brown noted in his recent LSU Press Blog post, Tennessee Williams is a vibrant source and my poem “The Kindness of Strangers” lifts its title and other diction from “A Streetcar Named Desire.” It feels often like I’m making word collages as I add layers of text and images that I have discovered through reading others.

Over the years of building my poetry library, my gratitude has increased for the many presses committed to publishing poetry, LSU Press being one of them. In graduate school, I was introduced to the work of Jay Wright in his collected poems Transfigurations (LSU Press, 2000) and continue to be intrigued by his distinctive depictions of the poet in place and time. I have earmarked about half the pages in Liesel Mueller’s Alive Together (LSU Press, 1996) in admiration for her deft ability to describe living lyrically and unabashedly. In Bonneville, from Elixir Press (2007), Liesel’s poet daughter, Jenny Mueller offers poems of introspection in varied landscapes. In Matt Rassmussen’s Black Aperture (LSU Press, 2012) I was jolted from the comfort of my morning reading chair into these bold and tender variations on a sibling’s suicide.


In addition to reading poems in books, magazines and online, I also rely upon anthologies and collections of essays about poetry and art to support the creation of my work and broaden my knowledge and experience. Here are just a few of the many resources I hold dear.

Mary Oliver, Upstream (Penguin, 2016). Encouraging essays about writing and paying attention.

Carl Phillips, The Art of Daring: Risk, Restlessness, Imagination (Graywolf, 2014). Chock full of compelling reasons to write poetry with emphasis on assertion and resistance.

Claudia Rankine and Juliana Spahr, American Women Poets in the 21st Century: Where Lyric Meets Language (Wesleyan, 2002). Excellent revelations about craft and theory from the perspective of ten featured writers.

J.D. McClatchy, editor, Poets on Painters: Essays on the Art of Painting by Twentieth Century Poets (University of California Press, 1989). Intoxicating essays about art from diverse poetic points of view.

Ed Hirsch, How to Read a Poem and Fall In Love With Poetry (Harcourt, Brace 1999). An engaging love to song to poetry in all its forms with an indispensable Glossary.

Molly Peacock, How to Read a Poem . . . and Start a Poetry Circle (Riverhead, 1999). Illuminating lessons on how to look, hear and make poetry part of your life.

Susan Stewart, The Open Studio: Essays on Art and Aesthetics (University of Chicago Press, 2005). Lucid examinations of the creative process in contemporary art.

Jane Hirshfield, Nine Gates: Entering the Mind of Poetry (HarperPerennial, 1998). Exacting and sensitive accounts revealing the magic, mystery and power of poetry.


Sally Van Doren has published two previous poetry collections with LSU Press: Sex at Noon Taxes (2008) and Possessive (2012). Her poems have appeared in many literary journals, including American Poet, Boulevard, the Cincinnati Review, the New Republic, and the Southern Review. She has taught poetry at the 92nd Street Y in New York and curates the Sunday Poetry Workshops for the St. Louis Poetry Center.

Buy Promise today and don’t forget to follow LSU Press on TwitterInstagram, and Facebook!


14
Nov 17

Jump Start Your Holiday Shopping at Season’s Readings

Jump Start Your Holiday Shopping at Season’s Readings

Join LSU Press for A Holiday Book + Journal Sale

Tuesday, November 28, 4:30–6:30 p.m., LSU Barnes and Noble

This November, as you’re making your plans for the holiday season, pencil Season’s Readings into your calendar! As part of LSU’s Holiday Spectacular 2017, LSU Press and The Southern Review welcome you to our annual book and journal sale, with gift ideas for everyone on your shopping list. A copy of The Golden Band from Tigerland signed by author Faye Phillips will hit just the right note with the music fans in your life, while armchair historians will pore over Stanley Nelson’s tireless investigation into Klan murders of the 1960s, Devils Walking. Howard Chaykin scholar Brannon Costello, poet Alison Pelegrin, and culinary experts Melinda Winans and Cindy Nobles will also be in attendance to sign copies of their books, along with Mardi Gras historian Brian Costello.

This year’s Season’s Readings, on Tuesday, 28th November, from 4:30 p.m. to 6:30 p.m. at the LSU Barnes and Noble, boasts a wide array of great titles at 20% off, many local authors in attendance, and free gift wrapping. Shop for great books and mingle with renowned authors. Parking will be available in the Union Square Parking Garage.

Special guests will be in attendance to sign copies of LSU Press books:

Vince Caire, author of Military Aviation in the Gulf South

Brannon Costello, author of Neon Visions

Brian Costello, author of Carnival in Louisiana

Stanley Nelson, author of Devils Walking

Cindy Nobles, coauthor of The Fonville Winans Cookbook

Melinda Winans, coauthor of The Fonville Winans Cookbook

Alison Pelegrin, author of Waterlines

Faye Phillips, author of The Golden Band from Tigerland

Many other LSU Press titles as well as gift subscriptions and individual issues of The Southern Review will be available for sale. The LSU Barnes and Noble is located at the corner of Highland Road and Raphael Semmes, across Highland from the LSU Union.

For more information on Season’s Readings please contact LSU Press at 225.578.8282 or visit www.lsupress.org and our Facebook event.


10
Nov 17

Understanding the Televisual South

It’s hard to turn on the television and not think about the U.S. South. From reality shows such as The Real Housewives of Atlanta, Southern Charm, and Duck Dynasty, to fear-inducing thrillers like The Walking Dead, True Blood, and True Detective, and bingeable shows including Atlanta, Ozark, Queen Sugar, and Dexter, the U.S. South seems to be broadcast everywhere, functioning on the small-screen as a spectacle of fascination, ridicule, danger, and desire.

Even when the South isn’t the central setting of the show, it somehow manages to work its way into the frame. Take, for example, HBO’s latest David Simon and George Pelecanos venture The Deuce, set in Manhattan in the late seventies. Not even five episodes in, and there we are outside a barbeque restaurant on the outskirts of Charlotte as one of the main characters—a prostitute named Darlene—lures an unsuspecting “country cousin” back with her to the city and into the sex-industry of 42nd street. It’s not hard to think of other examples of shows harnessing the South’s signifying powers, often engendering the region in the process—Charlotte as “southern belle” on Sex in the City, or Detective Amanda Rollins’ role as southerner on the long-running Law and Order: SVU. The premise and pleasure of these series emerges in part from their play with foundational myths of southern womanhood and ideas about region in relation to nation.

Yet this “southern programming” is hardly a new phenomenon. From 1960s favorites The Andy Griffith Show and The Beverly Hillbillies to the 80s and 90s series Dallas and A Different World and the 2000s teen drama One Tree Hill, the U.S. South has managed to hold on through multiple TV turns. Of course, some of the recent proliferation of the South on television is a result of the numerous tax incentives the industry has received from southern states and cities eager to bring new business into their borders. Regardless of one’s geographical home, there’s a good chance a TV viewer has been watching some version of the South for years—and in turn people in the South have been watching themselves imagined on the small screen.

While recent collections such as Deborah Barker and Katherine McKee’s American Cinema and the Southern Imaginary have stirred interest in visual representations of the region, the role of television, we noticed, was largely neglected, despite a proliferation of programming set in and about the South. Our work in Small-Screen Souths: Region, Identity, and the Cultural Politics of Television seeks to fill in this gap and to raise meaningful questions about what it means to watch the South across the domestic intimacy and public ubiquity of the televisual medium. As the first book-length study broadly dedicated to the relationship between television and the U.S. South, our collection considers the region and its televisual archive from the classical network era to our contemporary “post-broadcast” era, focusing on how the televisual South speaks to national and transnational transformations, including changing ways of thinking about race, class, gender, and regional identity itself.

We worked consciously to solicit work from contributors from diverse fields, so as to emphasize the variety of intellectual approaches that are possible at the intersections of television, regionalism, nationalism, and globalization, and to reflect a nuanced vision of place. The result, we think, is an intensely readable and teachable collection of sixteen essays that offer dynamic new ways of thinking about the televisual South.


A few key texts functioned as foundational scholarship for our understanding of the relationship between the U.S. South and mass media in Small-Screen Souths: Region, Identity, and the Cultural Politics of Television.

Deborah Barker and Kathryn McKee, American Cinema and the Southern Imaginary (UGA Press, 2011). This book is a key inspiration for our collection: we admire its scope, its readability, and the way in which it persuasively makes the case that that, far from being a marginal or merely regional set of tropes and images, the South has been integral to the development of filmmaking on a national scale. Barker and McKee’s concept of “the southern imaginary,” which they define as “an amorphous and sometimes conflicting collection of images, ideas, attitudes, practices, linguistic accents, histories, and fantasies about a shifting geographic region and time,” was influential for our development of our central concept of the “televisual South.”

Karen L. Cox, Dreaming of Dixie: How the South Was Created in American Popular Culture (UNC Press, 2013). Cox traces the history of the U.S. South in popular culture from the late nineteenth century through World War II, drawing attention to the establishment of key southern icons—the mammy, the belle, the plantation—in film, popular music, radio, and literature, while emphasizing the connections between regional and national identity.

Allison Graham, Framing the South: Hollywood, Television, and Race during the Civil Rights Struggle (Johns Hopkins UP, 2003). Graham brilliantly surveys the ways in which the media, particularly television and film, presented southerners during the period of the civil rights revolution, with a special emphasis on how films have confronted—or avoided—issues of racism.

Jack T. Kirby, Media-Made Dixie: The South In the American Imagination (UGA Press, 2004). Kirby’s study develops a portrait of how “Dixie” comes into fashion through popular culture from early cinematic sensations such as The Birth of a Nation to the plays and cinematic adaptations of Tennessee Williams to Jimmy Carter’s presidency. While we offer a different portrait of the South and popular culture than Kirby, his book is an early touchstone text in a developing conversation about the interplay between mass culture and regional identity.

Amanda D. Lotz, The Television Will Be Revolutionized (NYU Press, 2007). Lotz persuasively details how the television is not dead in the age of digital media and the “post-network” era; rather, she argues, it is being “revolutionized” by portable viewing devices and digital recording.

Anna McCarthy, Ambient Television: Visual Culture and Public Space (Duke UP, 2001). Arguing against the ways that television studies has long focused on domestic spaces, McCarthy examines how television is a pervasive phenomenon outside the home, filling our time in airports, sporting events, and waiting rooms. She also discusses the different roles that television plays in these contexts, focusing on how “ambient television” mobilizes us into captive audiences for ideas about gender, class, and consumption.

Tara McPherson, Reconstructing Dixie: Race, Gender, and Nostalgia in the Imagined South (Duke UP, 2003). McPherson’s masterful book reinvigorated southern studies through inventively drawing on a diverse archive—fiction, film, television, southern studies scholarship, journalism, music, tourist sites, the internet, and autobiography—to reveal how the “lenticular logic” that has dominated the U.S. South’s remembering of its past has also shaped our national identity.

Scott Romine, The Real South: Southern Narrative in the Age of Cultural Reproduction (LSU Press, 2008). Romine examines what it means to understand the U.S. South in the “age of cultural reproduction,” wherein cultural identity must be understood within the broader context of mass media, global corporations, and the logic of commodification. Romine’s compelling arguments about artifice, authenticity, and “reality” resonate throughout our collection.


Lisa Hinrichsen, associate professor of English and director of graduate studies at the University of Arkansas, is the author of Possessing the Past: Trauma, Imagination, and Memory in Post-Plantation Southern Literature.

Gina Caison is assistant professor of English at Georgia State University.

Stephanie Rountree is a postdoctoral teaching fellow in the Department of English at Auburn University.

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03
Nov 17

Five Howard Chaykin-esque Contemporary Comics

In Neon Visions, I discuss the ways in which Howard Chaykin’s work, once routinely hailed as groundbreaking in its themes and innovative in exploiting the unique properties of the comics medium, has in recent years been underappreciated or mis-understood in academic comics studies and comics fandom alike. But what about within the world of comics artists and writers? How have comics creators both within and beyond the mainstream responded to the work of an artist who expanded the boundaries of the possible in monthly adventure-genre comics? Here are five works indirectly or directly shaped by Chaykin’s influence.


Matt Fraction, Gabriel Ba, and Fabio Moon, Casanova (Image Comics, 2006-). Superstar indie comics writer Matt Fraction is an avowed Howard Chaykin fan and a frequent collaborator, most notably on Satellite Sam, an unblinking look at the seamy underbelly of 1950s children’s television that Fraction has frequently described as “Howard Chaykin fan-fiction.” But I tend to think of Casanova as the true spiritual successor to Chaykin titles such as American Flagg! or Time2. With Brazilian artists Gabriel Ba and Fabio Moon trading art duties on alternating story arcs, Casanova is a series in which Fraction transforms a deeply personal and idiosyncratic set of obsessions and preoccupations into a crypto-autobiographical thrill ride.

Ed Brubaker and Sean Phillips, Fatale (Image Comics, 2012-2014). Brubaker and Phillips have carved out a distinct niche for themselves doing sophisticated crime comics in a marketplace dominated by superheroes, expanding the territory that Chaykin helped to establish with series such as The Shadow and Black Kiss. Like Chaykin, Phillips is clearly an aficionado of classic twentieth century American illustration, and his elegant, moody art calls to mind the work of illustrators such as Robert Maguire or Robert McGinnis. I could have picked just about any of their collaborations for this spot – their anthology series Criminal, their supervillain crime caper Incognito, their blacklist-era Hollywood mystery The Fade Out – but their supernatural noir Fatale seems to owe a clear debt to Black Kiss, picking up its themes of obsession, identity, and the place of women in genre entertainment and taking them in a new direction.

Garth Ennis and Goran Parlov, Fury MAX: My War Gone By (Marvel, 2012-2013). Chaykin’s Blackhawk drew acclaim and controversy for taking DC Comics’ stalwart, square-jawed, and slightly dull World War II aviator and putting him in a carefully researched, richly imagined historical context, eschewing “greatest generation” rhetoric for a nuanced look at the interlocking political forces and ideological fantasies that characterized the immediate pre-war years. Written by Garth Ennis – another sometime Chaykin collaborator, most notably on the WWI flying ace series War is Hell: The First Flight of the Phantom Eagle – and beautifully cartooned by Goran Parlov, My War Gone By makes a similar move with Marvel Comics’ World-War-II-hero-turned-superspy Nick Fury, transporting the character to (somewhat) more realistically imagined post-war hotspots like Vietnam and Cuba for a tale about the follies of American empire. (Side note: Goran Parlov is also the artist for Marvel’s The Punisher: Welcome to the Bayou by Baton Rouge’s own Victor Gischler, a story in which the Punisher dresses up in an LSU tracksuit.)

Ho Che Anderson, King: A Comics Biography (Fantagraphics Books, 1993-2003, 2010). Chaykin is one of Anderson’s oft-cited inspirations, and the evidence is all over his monumental graphic biography of Martin Luther King, Jr. – not only in the clashing patterns and textures and disorienting page layouts that recall Black Kiss and Time2 but also in Anderson’s consideration of both the value and danger of American mythology, in his attention to the place of human failings and foibles in grand political narratives, and in his unsettling depiction of the ways in which mass media shapes our response to and understanding of history.

Michel Fiffe, Copra (2012-). Fiffe’s one-man showcase – long available only through his Etsy store, now available digitally – began as a love letter to titans of 1980s comics such as Chaykin, Frank Miller, and Bill Sienkiewicz, filtered through an affectionate riff on John Ostrander and Luke McDonnell’s classic Suicide Squad. As the series evolved, however, it became clear that the series was something purely his own, an eye-popping visual delight whose sketch-on-the-back-of-a-notebook energy was the expression of an original and uncontainable vision. Taking secondhand scraps of genre entertainment and making them truly your own – I can’t think of anything more Chaykin-esque than that.


Brannon Costello, associate professor of English at Louisiana State University, is the editor of Howard Chaykin: Conversations and Conversations with Michael Chabon; and, with Qiana J. Whitted, coeditor of Comics and the U.S. South.

Buy your copy of Neon Visions today and don’t forget to follow LSU Press on TwitterInstagram, and Facebook!


27
Oct 17

October Roundup: News, Events, Reviews

We’ve been in high gear this October at LSU Press! The Fonville Winans Cookbook was named a Fall 2017 Okra Pick by the Southern Independent Booksellers Alliance. The Writer’s Almanac featured “Defiance” and “The Book of Usable Minutes” by Sally Van Doren as well as “Daughter” by Lisel Mueller. Poems by Kelly Cherry were read on KSFR’s Audio Saucepan. “Mad Money” by Nicole Cooley appeared on Poetry Daily. And Gambit published a short interview with Kathryn Fontenot. Cynthia Lejeune Nobles, Nicole Cooley, and Susannah J. Ural wrote fantastic posts for the LSU Press Blog. And we published new books by Richard Campanella, Brannon Costello, James L. Huston, Terry L. Jones, and Melinda Risch Winans and Cynthia Lejeune Nobles.

Below you’ll find a list of our November titles, upcoming events with our authors, and some selected publicity from October.  And if you want to keep up with LSU Press in real time, follow us on TwitterInstagram, and Facebook.


New in November

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We will be at the Louisiana Book Festival tomorrow! Come say hello, attend special panels featuring our authors, and buy some books for your favorite bibliophile. In fact, take 30% off and free shipping* on select Louisiana titles until the end of the month!

Click here if calendar does not load.


Selected Publicity and Praise

The Humility of the Brutes by Ron Smith

“As a whole, Ron Smith’s “The Humility of the Brutes” is a deft and elegant figuration of the creative mind’s energetic confrontation with the eternal motion of time. Smith’s courageous poems document his tireless interaction with the endless events, places, and moments that make up human history. These are graceful, timeless poems of destiny and rebellion.”—The Journal

Visitations by Lee Upton

 “In Visitations, everyone is haunted by some version of his or her most monstrous self, but this haunting isn’t necessarily bad. Visitations suggests that monstrousness is the purest form of honesty, the bravest kind of intimacy. In a world in which we are all staving off loneliness, maybe admitting our worst impulses isthe best way to begin saving ourselves.”—Fiction Writers Review

Stepdaughters of History: Southern Women and the American Civil War by Catherine Clinton:

“These essays are extraordinarily well written. While theoretically and historiographically sophisticated, they are accessible to a general audience and also worthwhile for readers more familiar with the material.”—Southwestern Historical Quarterly

The Fonville Winans Cookbook: Recipes and Photographs from a Louisiana Artist by Melinda Risch Winans and Cynthia Lejeune Nobles

The Fonville Winans Cookbook: Recipes and Photographs from a Louisiana Artist will appeal to cooks, those who enjoy reading biographies and those interested in photography.”—The Advocate

On to Petersburg: Grant and Lee, June 4-15, 1864 by Gordon Rhea:

“Gordon Rhea’s Overland Campaign series has rightfully earned the praise of professional historians and Civil War enthusiasts alike. It is by far the fullest military treatment of the brutal six-week showdown in Virginia between Union and Confederate heavyweights U.S. Grant and Robert E. Lee during spring 1864. . . .  In On to Petersburg, Gordon Rhea’s research and battle narrative skills are as impressive in their display as they’ve ever been. . . . In every way, On to Petersburg has been well worth the long wait and is a fitting end to a series destined to become an all-time classic.”—Civil War Books and Authors 

 Power and Corruption in the Early Modern Portuguese World by Erik Lars Myrup

“A worthwhile book overall, both for the stories it tells and the questions it provokes. Myrup’s archival work is admirable, stretching from Goiania to Macau by way of metropolitan capitals, and his dominance of both European languages and Chinese strengthens his conclusions.”—The Americas

Extreme Civil War: Guerrilla Warfare, Environment, and Race on the Trans-Mississippi Frontier by Matthew M. Stith

“Among other accomplishments, Stith’s analysis of total war on the trans-Mississippi frontier does much to expand the geography of the Civil War, especially insofar as it incorporates divisions among Native Americans within Indian Territory.”—Reviews in American History

The Confederate Homefront: A History in Documents by Wallace Hettle

“English historian G. M. Trevelyan wrote: ‘Every true history must force us to remember that the past was once as real as the present and as uncertain as the future.’ Nothing does this better than the actual words written by the people who were there. Anthologies like The Confederate Homefront allow us to hear the voices of the past whispering in our ear.”—Civil War Times

Marc-Antoine Caillot and the Company of the Indies in Louisiana: Trade in the French Atlantic World  by Erin M. Greenwald

“In this welcome addition to the historiography of the early modern Atlantic world, Erin Greenwald sheds new light upon a crucial, though under-studied, period in the history of French colonial Louisiana. . .”—Journal of Historical Geography


27
Oct 17

LSU Press at the Louisiana Book Festival

IndexSlider1_2017Don’t forget to come downtown for the 2017 Louisiana Book Festival! Below is a guide to panels featuring LSU Press Authors.

10:45 – 11:30

Reptiles and Ampibians of Louisiana with authors Boundy and Carr at the Capitol Park Museum, 1st floor meeting room

11:00 -11:30

Girl After Girl After Girl poet Nicole Cooley with Peter Cooley at the State Library, 5th floor, Capitol View room

11:15 – 11:45

Stepdaughters of History author Catherine Clinton at the Capitol Park Museum, 3rd floor exhibit hall

11:15 – 12:00

Brian Costello and Jennifer Atkins on Mardi Gras in Louisiana at the Capitol Park Museum, 1st floor auditorium

1:00 – 1:45

Richard Campanella, author of Cityscapes of New Orleans at the State Capitol Building, House Committee room 6

1:00 – 1:45

Cemeteries of New Orleans author Peter Dedek at the Capitol Park Museum, 1st floor auditorium

2:00 – 2:45

Images of Depression-Era Louisiana co-author Maria Hebert-Leiter  at the State Capitol Building, House Committee room 6

2:00 – 2:45

Neon Visions author Brannon Costello at the State Capitol Building, House Committee room 5

2:30 – 3:15

Lisa Hinrichsen leads contributors on a panel for Small Screen Souths at State Capitol Building, House Committee room 3

3:15 – 4:00

Fonville Winans’ Cookbook authors Cindy Nobles and Melinda Winans will be at the Cooking Demonstration


20
Oct 17

Writing Hood’s Texas Brigade: Books on Civil War Soldiers and Families

Over the last fifteen years, historians have increased their focus on the indelible link between Civil War military units and their families and home communities. This connection played a defining role in soldiers’ decisions to volunteer, to continue or abandon their military service, and veterans’ ability to adapt to postwar life. While historians have recognized the influence of regional and cultural traditions, class, and age in shaping enlistment or desertion patterns, it is only recently that scholars have come to appreciate the significance of Civil War units as communities in their own right that reflected the values of the families and towns in which they were raised and to which many of them returned.

As a war and society scholar by training, my research and writing were first influenced by this new approach to Civil War unit histories about ten years ago. Early drafts of my book Hood’s Texas Brigade: The Soldiers and Families of the Confederacy’s Most Celebrated Unit focused on traditional questions of military service: Why did these men volunteer? Why did they continue to serve? What drew them to this unit? What motivated them in combat? What made this such an elite brigade? How did the war change these men? I came to realize, though, that while I was studying the men in battle, in camp, and on campaign, they focused instead on events at home. They worried about their wives managing their farm, the diseases that plagued their children and livestock, and economic devastation that could follow poor crops and worse weather. Texas Brigade soldiers certainly discussed the war and what it meant to them, their families, and their communities. They struggled to describe the horrors of a battlefield and the fear and exhilaration combat inspired. But this was only a part of their wartime experience. To capture the full picture, I realized that I had to study their families and home communities too. Not just their socio-economic backgrounds, but rather the familial and community connections that I saw reflected in their companies, regiments, and brigade. I noticed references to men on neighboring farms in letters home, and how casualty lists often predicted long term economic as well as personal hardships for entire communities. Only by incorporating these issues could I understand the Texas Brigade’s full experience in the Civil War.


Seeking the help of other scholars, I turned most often to these books (and sometimes to conversations with manuscripts in progress) while writing Hood’s Texas Brigade:

Ward Hubbs’ Guarding Greensboro: A Confederate Company in the Making of a Southern Community (University of Georgia Press, 2003) and Richard M. Reid’s Freedom for Themselves: North Carolina’s Black Soldiers in the Civil War Era (University of North Carolina Press, 2008). Ward Hubbs and Richard Reid were models of the argument that, when analyzing a Civil War unit, scholars must examine soldiers and their home communities as one entity. Companies and regiments become their own communities, but their families constantly pulled on them, supported them, and inspired them. A volunteer’s civilian roots, Reid and Hubbs remind us, could infect soldiers with petty grievances, but they also offered a much-needed support structure and could inspire a tremendous willingness to sacrifice.

Lesley J. Gordon’s A Broken Regiment: The 16th Connecticut’s Civil War (Louisiana State University Press, 2014) examines a unit known during the war for their failures rather than their successes. But through the veterans’ and their families’ efforts to reclaim their honor and redefine their service, a broken unit became a celebrated regiment.

In Shades of Green: Irish Regiments, American Soldiers, and Local Communities in the Civil War Era (Fordham University Press, 2017), Ryan W. Keating rightly argues that it was connections to soldiers’ home communities, more than their ethnic traditions, that proved their strongest motivating influence.

In General Lee’s Army: From Victory to Collapse (Free Press, 2008), Joseph T. Glatthaar analyzes the socio-economic influences, political connections, and relationships between officers and men that helped make the Army of Northern Virginia so successful but that also sowed the seeds of its defeat.

These works influenced my conclusion that when we study Civil War soldiers’ military service, it’s not just their service that we need to understand. Units raised from neighborhoods and small towns were reflections of their families and the entire community. When regiments were celebrated or castigated in the press or long after the war, so too were the families and communities from which they came. Sweeping studies of Civil War soldier service and motivation like James McPherson’s For Cause and Comrades or Kenneth Noe’s Reluctant Rebels were path breaking, but historians are right to now argue that service in specific units and a man’s home community could have just as much influence on a soldier’s wartime behavior than the more commonly studied factors of age and socio-economic background.

In the Texas Brigade, for example, men volunteered to serve over a thousand miles from home despite the fact they could have fought much closer to their homes without dishonor. They returned to their brigade after capture or wounds despite the unusually high casualty rates their regiments suffered, and they made these dangerous decisions when desertion rates in the army overall were rising. The officers and men of the Texas Brigade expected much from each other and gave much to each other, they came from families who were able to sustain that level of sacrifice. These men returned to communities where the brigade’s veterans and families continued to support one another long after the war ended. They remind us that this new approach to writing unit histories — which examines the interconnected experiences of soldiers, families, and home communities — is essential to more fully understanding the Civil War generation.


Susannah J. Ural, Ph.D. is author of the forthcoming Hood’s Texas Brigade: The Soldiers and Families of the Confederacy’s Most Celebrated Unit with LSU Press. She is professor of history and co-director of the Dale Center for the Study of War & Society at the University of Southern Mississippi.

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