War destroys, but it also inspires, stimulates, and creates. It is, in this way, a muse, and a powerful one at that. The American Civil War was a particularly prolific muse--unleashing with its violent realities a torrent of language, from soldiers' intimate letters and diaries to everyday newspaper accounts, great speeches, and enduring literary works. In Belligerent Muse, Stephen Cushman considers the Civil War writings of five of the most significant and best known narrators of the conflict: Abraham Lincoln, Walt Whitman, William Tecumseh Sherman, Ambrose Bierce, and Joshua Lawrence Chamberlain. Considering their writings both as literary expressions and as efforts to record the rigors of the war, Cushman analyzes their narratives and the aesthetics underlying them to offer a richer understanding of how Civil War writing chronicled the events of the conflict as they unfolded and then served to frame the memory of the war afterward. Elegantly interweaving military and literary history, Cushman uses some of the war's most famous writers and their works to explore the profound ways in which our nation's great conflict not only changed the lives of its combatants and chroniclers but also fundamentally transformed American letters.

The Winter 2014 Issue brings us duels and Dashboard Poets, eels and faux villages, a beloved television icon, interviews with liberal hero Walter Mondale and conservative activist Jack Kershaw, Civil War battlefi eld monuments, and more. From familiar faces and famous legends to humble commemorations and invented histories, we explore the tensions between preservation and progress that have forged the region as we know it.

The writings of Horace have exerted strong and continuing influence on writers from his day to our own. Sophisticated and intellectual, witty and frank, he speaks to the cultivated and civilized world of today with the same astringent candor and sprightliness that appeared so fresh at the height of Rome's wealthy and glory. In 23 B.C., when he published the first three books of his lyrics, Horace was 42 years old, secure in the favor of the emperor Augustus, and living in ease and comfort as a country gentleman on his Sabine farm. Serenity is reflected in these lyrics, certainly, but so are other experiences, for Horace had lived through three major political crises in a society that was the center of the world, that was sophisticated, refined—and beginning to decay. A worldly, high-spirited, cultivated man, Horace responds in his poetry to the myriad elements of Roman life he knew so well. The Odes and Epodes of Horace collects the entirety of his lyric poetry, comprising all 103 odes, the Carmen Saeculare ("Festival Hymn"), and the earlier epodes. Joseph P. Clancy has achieved a mirroring of the originals that is worthy in its own right as English verse, and his introductions to each book of lyrics are both lively and informed.

A memoir in parts, from one of Australia's best-loved playwrights. Hannie Rayson - writer, mother, daughter, sister, wife, romantic, adventuress, parking-spot optimist - has spent a lifetime giving voice to others in the many roles she has written for stage and television. In her new book, she shines the spotlight on herself. This collection of stories from a dramatic life radiate with the great warmth and humour that has made Hannie one of the best-known playwrights in the country. From a childhood in Brighton to a urinary tract infection in Spain, from a body buried under the house to a play on a tram, Hello, Beautiful! captures a life behind the scenes - a life of tender moments, hilarious encounters and, inevitably, drama. Hannie Rayson is a playwright and screenwriter. Her works - including Hotel Sorrento, Inheritance and Life After George - have been performed around Australia and internationally. She has been awarded two Australian Writers' Guild Awards, four Helpmann Awards, two NSW Premier's Literary Awards and a Victorian Premier's Literary Award. Her play Life After George was the first play to be nominated for the Miles Franklin Literary Award. Hannie lives in Melbourne. ‘So beautifully written, so funny, so insightful and so obviously written by a warm and appealing human being.’ David Williamson ‘Smart, witty, warm, self effacing and hilarious. Each chapter is a shining gem—a passionate view, a formative experience, a mortifying anecdote. Hannie Rayson’s insight, honesty and ear for dialogue as one of Australia’s foremost playwrights is beyond dispute. Here she turns her talents to memoir and those closest to her with results so disarming and entertaining I didn’t want it to end.’ Kat Stewart ‘Hannie paints with vivid colours. Her development as a writer and a woman is richly portrayed, with all the shades of intense feeling and emotion that her dramatic characters share spilling from the page in a riot of evocative memories. Hello, Beautiful! is as nourishing and delicious as home-made soup.’ Noni Hazlehurst ‘Hannie’s writing shows the extraordinary truth of ordinary life—that it is, in fact, anything but ordinary. I was glued to this delightful book.’ Sigrid Thornton ‘Think of this as bottled sunshine....her anecdotes about family, friends and the community she belongs to, are told with perfect comic timing and one of the most acute ears in the business for dialogue.’ Caroline Baum, Booktopia Buzz ‘This is a book that welcomes readers generously into its author’s secure and stimulating private world – and makes us wish, as we reluctantly close the final chapter, that we could be there for real.’ Adelaide Advertiser ‘A book of beautifully crafted, free-flowing vignettes that illuminates with warmth and humour.‘ Australian ‘Every chapter tickles.’ Country Living ‘Rayson’s vignettes are perfectly constructed and she is a virtuoso of self-deprecating humour.’ Sydney Morning Herald ‘With her cooly curious eye and facility for dialogue, Rayson has chronicled key moments in the nation’s social history...Hello, Beautiful! is a scrapbook of Rayson’s family foibles, thoughts and simple dreams.’ Big Issue ‘It was a pleasure to read such a refreshing take on the genre of memoir, written with skill, warmth and optimism. Like every good theatrical experience, you are left wanting more.’ Good Reading ‘Beautifully structured and articulated, not to mention hilarious....Rayson reels you in with her storytelling.’ Australian Book Review ‘An easy, entertaining read, written in a chatty, friendly, open style.’ Starts at Sixty

Civil War Writing is a collection of new essays that focus on the most significant writing about the American Civil War by participants who lived through it, whether as civilians or combatants, southerners or northerners, women or men, blacks or whites. Collectively, as contributors show, these writings have sustained their influence over generations and include histories, memoirs, journals, novels, and one literary falsehood posing as an autobiographical narrative. Several of the works, such as William Tecumseh Sherman’s memoirs or Mary Chesnut’s diary, are familiar to scholars, but other accounts, including Charlotte Forten’s diary and Loreta Velasquez’s memoir, offer new material to even the most omnivorous Civil War reader. In all cases, a deeper look at these writings reveals why they continue to resonate with audiences more than 150 years after the end of the conflict. As supporting evidence for historical and biographical narratives and as deliberately designed communications, the writings discussed in this collection demonstrate considerable value. Whether exploring the differences among drafts and editions, listening closely to fluctuations in tone or voice, or tracing responses in private correspondence or published reviews, the essayists examine how authors wrote to different audiences and out of different motives, creating a complex literary record that offers rich potential for continuing evaluation of the country’s greatest national trauma. Overall, the essays in Civil War Writing underscore how participants employed various literary forms to record, describe, and explain aspects and episodes of a conflict that assumed proportions none of them imagined possible at the outset.

Southeastern Geographer is published by UNC Press for the Southeastern Division of the Association of American Geographers (www.sedaag.org). The quarterly journal publishes the academic work of geographers and other social and physical scientists, and features peer-reviewed articles and essays that reflect sound scholarship and contain significant contributions to geographical understanding, with a special interest in work that focuses on the southeastern United States.

The book draws on letters, diaries, recent books and articles in History, but also relies on multi-disciplinary sources in politics and literature, along transnational comparisons to place the events in a broader perspective. The book invites the reader to embark with the soldiers and some civilians on their journey into the murderous events across the nation. The passage began with the heroic clichés that prevailed during the initial organization and embarkation of the armies. However the shock of battle and the weary life in camps brought new images of the war such as a bleak vision seeing the war as a chaotic absurdity, others began to suspect conspiratorial agencies behind the conflict, yet others sought to galvanize their support for the hard road ahead by invoking melodramatic metaphors as a crusade, and means of national redemption and punishment of the adversary. As the fighting intensified after the initial clashes of 1862, some believed that the hard war opened the way for imposing revolutionary changes such as upending the South’s social structure providing social, economic and political equality to a new class—the ex-slaves. Finally, there were some who felt the war was a Sophoclean-Greek tragedy because the outcome and nature of the war proved contrary to what they had assumed the struggle would be about and what it would be like.