Poetry, prose, photos, and songs of the Civil War. The authors range from hawks to doves. In the former category, James Madison Bell wrote: "The pleasing duty still remains / To sing a people from their chains."

Arranged by war, the book begins with the Colonial period and proceeds through Whitman admiring Civil War soldiers crossing a river to end with Brian Turner, who published his first book in 2005, beckoning a bullet in contemporary Iraq.

"The Fletcher Jones Foundation humanities imprint"--Prelim. p.

A collection of poems about America at war from the Revolution to the Iraq war.

This volume of collected papers takes stock of what has become known about the war in eastern Ukraine’s Donets Basin (Donbas) between April 2014 and mid-2020. It provides an introduction to the conflict and illustrates the key point of contention in the academic debate surrounding it—the question whether this war is primarily an internal Ukrainian phenomenon or the result of a covert Russian invasion. The contributions by recognized specialists from Ukraine, Russia, Germany, and Japan offer multifaceted views and insights into this long-lasting conflict for both expert readers and those who are new to the topic. The volume’s contributors are Tymofii Brik, Jakob Hauter, Sanshiro Hosaka, Yuriy Matsiyevsky, Nikolay Mitrokhin, Maximilian Kranich, and Ulrich Schneckener.

William Logan has been a thorn in the side of American poetry for more than three decades. Though he has been called the Òmost hated man in American poetry,Ó his witty and articulate reviews have reminded us how muscular good reviewing can be. These new essays and reviews take poetry at its word, often finding in its hardest cases the greatest reasons for hope. Logan begins with a witty polemic against the wish to have critics announce their aesthetics every time they begin a review. ÒThe Unbearable Rightness of CriticismÓ is a plea to read those critics who got it wrong when they reviewed Lyrical Ballads or Leaves of Grass or The Waste Land. Sometimes, he argues, such critics saw exactly what these books wereÑthey saw the poems plain, yet often did not see that they were poems. In such wrongheaded criticism, readers can recover the ground broken by such groundbreaking books. Logan looks again at the poetry of Wallace Stevens, Frank OÕHara, and Philip Larkin; at the letters of T. S. Eliot, Elizabeth Bishop, and Robert Lowell; and at new books by Louise GlŸck and Seamus Heaney. Always eager to overturn settled judgments, Logan argues that World War II poets were in the end better than the much-lauded poets of World War I. He revisits the secretly revised edition of Robert FrostÕs notebooks, showing that the terrible errors ruining the first edition still exist. The most remarkable essay is ÒElizabeth Bishop at Summer Camp,Ó which prints for the first time her early adolescent verse, along with the intimate letters written to the first girl she loved.

Since the end of the Cold War, a series of costly civil wars, many of them ethnic conflicts, have dominated the international security agenda. This volume offers a detailed examination of four recent interventions by the international community.

Walt Whitman was already famous for Leaves of Grass when he journeyed to the nation's capital at the height of the Civil War to find his brother George, a Union officer wounded at the Battle of Fredericksburg. Whitman eventually served as a volunteer "hospital missionary," making more than six hundred hospital visits and serving over eighty thousand sick and wounded soldiers in the next three years. With the 1865 publication of Drum-Taps, Whitman became poet laureate of the Civil War, aligning his legacy with that of Abraham Lincoln. He remained in Washington until 1873 as a federal clerk, engaging in a dazzling literary circle and fostering his longest romantic relationship, with Peter Doyle. Author Garrett Peck details the definitive account of Walt Whitman's decade in the nation's capital.

In Broken Ground, William Logan explores the works of canonical and contemporary poets, rediscovering the lushness of imagination and depth of feeling that distinguish poetry as a literary art. The book includes long essays on Emily Dickinson’s envelopes, Ezra Pound’s wrestling with Chinese, Robert Frost’s letters, Philip Larkin’s train station, and Mrs. Custer’s volume of Tennyson, each teasing out the depths beneath the surface of the page. Broken Ground also presents the latest run of Logan’s infamous poetry chronicles and reviews, which for twenty-five years have bedeviled American verse. Logan believes that poetry criticism must be both adventurous and forthright—and that no reader should settle for being told that every poet is a genius. Among the poets under review by the “preeminent poet-critic of his generation” and “most hated man in American poetry” are Anne Carson, Jorie Graham, Paul Muldoon, John Ashbery, Geoffrey Hill, Louise Glück, John Berryman, Marianne Moore, Frederick Seidel, Les Murray, Yusef Komunyakaa, Sharon Olds, Johnny Cash, James Franco, and the former archbishop of Canterbury. Logan’s criticism stands on the broken ground of poetry, soaked in history and soiled by it. These essays and reviews work in the deep undercurrents of our poetry, judging the weak and the strong but finding in weakness and strength what endures.