The memoirs of James Larkin Pearson (1879-1981), the second Poet Laureate of North Carolina. Born in a crude cabin atop Wilkes County's Berry Mountain, James Larkin Pearson was determined to become a poet. He had little formal education, and spent his early years in farming and carpentry. Pearson said he "Worked on the farm till I was 21 years old. Many of my poems were composed as I went about my work on the farm. I always carried my notebook and pencil to the field with me, and as I trudged between the plow-handles in the hot sunshine, my mind was busy working out a poem."In addition to his poetry, Mr. Pearson published The Fool-Killer a successful newspaper that acquired a circulation of some 5,000 readers.On August 4, 1953, Governor William B. Umstead appointed Pearson as the North Carolina Poet Laureate of the State. He held this post until his death, on August 27, 1981.

Drawing upon historicist and cultural studies approaches to literature, this book argues that the Romantic construction of the self emerged out of the growth of commercial print culture and the expansion and fragmentation of the reading public beginning in eighteenth-century Britain. Arguing for continuity between eighteenth-century literature and the rise of Romanticism, this groundbreaking book traces the influence of new print market conditions on the development of the Romantic poetic self.

One of our most perceptive critics on the ways that poets develop poems, a career, and a life Though it seems, at first, like an art of speaking, poetry is an art of listening. The poet trains to hear clearly and, as much as possible, without interruption, the voice of his or her mind, the voice that gathers, packs with meaning, and unpacks the language he or she knows. It can take a long time to learn to let this voice speak without getting in its way. This slow learning, the growth of this habit of inner attentiveness, is poetic development, and it is the substance of the poet’s art. Of course, this growth is rarely steady, never linear, and is sometimes not actually growth but diminishment—that’s all part of the compelling story of a poet’s way forward. —from the Introduction “The staggering thing about a life’s work is it takes a lifetime to complete,” Craig Morgan Teicher writes in these luminous essays. We Begin in Gladness considers how poets start out, how they learn to hear themselves, and how some offer us that rare, glittering thing: lasting work. Teicher traces the poetic development of the works of Sylvia Plath, John Ashbery, Louise Glück, and Francine J. Harris, among others, to illuminate the paths they forged—by dramatic breakthroughs or by slow increments, and always by perseverance. We Begin in Gladness is indispensable for readers curious about the artistic life and for writers wondering how they might light out—or even scale the peak of the mountain.

This work is the first academic biography of North Carolina poet laureate James Larkin Pearson (1879-1981). Using material from Pearson’s personal archive in Wilkes County, from the North Carolina Collection and the Southern Historical Collection at the University of North Carolina at Chapel Hill, and from contemporary examinations of his life and work, this study offers deeply personal insights into his life and provides extensive examinations of his hopes, joys, fears, pains, and sorrows. The work also includes lengthy studies of his poetry and his journalistic efforts and examines their place within the larger cultural milieu. In the process, the book addresses two themes that become apparent in Pearson’s life and work: his Tar Heel spirit and his individualism. He was a fighter who overcame poverty, a poor education, personal tragedies, and professional neglect to achieve great success. He also abided by his own set of religious, artistic, and political values regardless of the consequences. This work thus offers the first personal and professional examination of James Larkin Pearson, provides insights on North Carolina and its people, and examines the benefits and drawbacks of following one’s own path.

National Bestseller. Featuring the famous Commander Adam Dalgliesh, Devices and Desires is a thrilling and insightfully crafted novel of fallible people caught in a net of secrets, ambitions, and schemes on a lonely stretch of Norfolk coastline. Commander Dalgliesh of Scotland Yard has just published a new book of poems and has taken a brief respite from publicity on the remote Larksoken headland on the Norfolk coast in a converted windmill left to him by his aunt. But he cannot so easily escape murder. A psychotic strangler of young women is at large in Norfolk, and getting nearer to Larksoken with every killing. And when Dalgliesh discovers the murdered body of the Acting Administrative Officer on the beach, he finds himself caught up in the passions and dangerous secrets of the headland community and in one of the most baffling murder cases of his career.

Far Beyond the Field is a first-of-its-kind anthology of haiku by Japanese women, collecting translations of four hundred haiku written by twenty poets from the seventeenth century to the present. By arranging the poems chronologically, Makoto Ueda has created an overview of the way in which this enigmatic seventeen-syllable form has been used and experimented with during different eras. At the same time, the reader is admitted to the often marginalized world of female experience in Japan, revealing voices every bit as rich and colorful, and perhaps even more lyrical and erotic, than those found in male haiku. Listen, for instance, to Chiyojo, who worked in what has been long thought of as the dark age of haiku during the eighteenth century, but who composed exquisitely fine poems tracing the smallest workings of nature. Or Katsuro Nobuko, who wrote powerfully erotic poems when she was widowed after only two years of marriage. And here, too, is a voice from today, Mayuzumi Madoka, whose meditations on romantic love represent a fresh new approach to haiku.

Although many books deal individually with each of the major writers treated in Poets of Reality, none attempts through analyses of these particular men and their works, to identify the new directions taken by twentieth-century literature. J. Hillis Miller, challenging the assumption that modern poetry is merely the extension of an earlier romanticism, presents critical studies of the six central figuresâe"Joseph Conrad, W. B. Yeats, T. S. Eliot, Dylan Thomas, Wallace Stevens, and William Carlos Williamsâe"who played key roles in evolving a poetry in which âeoereality comes to be present to the senses, and present in the words of the poem which ratify this possession.âe A new kind of poetry has appeared in the twentieth century, the author claims, a poetry which, growing out of romanticism and symbolism, goes far beyond it. The old generalizations about the nature and use of poetry are no longer applicable, and it is the gradual emergence of new forms, culminating in the work of Williams, that Miller traces and defines.

The story of the generation of New Zealand writers who came of age in the 1930s and who deliberately and decisively changed the course of literature is told in this book, shedding important new light on the key participants, including Allen Curnow, Denis Glover, and Robin Hyde. The movement is traced through small circulation magazines and small press publications from 1932 to 1941. The repudiations and loyalties by which the movement defined itself are explored, including its opposition to the literary establishment and to late Georgian verse, its naming of its precursors and allies from the 1920s, and its choice of overseas models such as the British Moderns and the new American short-story writers for the creation of a new literature. oppose the cultural myths supported by the literary establishment and the writers' responses to the world-wide social upheavals of the period -- the Depression, the international crises of 1935 to 1939, and World War II.