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This article discusses the cultural and ideological representation of the Jewish Polish poet Władysław Szlengel in historical and historiographic research. The author maintains that while many researchers have described Szlengel as universal, cosmopolitan, sympathetic to assimilation, with socialist leanings, or, at least, apolitical or indifferent toward the national issue, the "Warsaw Ghetto poet" in fact had firm Zionist-Revisionist leanings before the war, and was connected to the Betar-founded 1 Jewish Military Union (Żydowski Związek Wojskowy, ŻZW) underground during the war and Warsaw Ghetto uprising. Thus, the author presents evidence and quotations previously unexplored in the field, which shed new light on the life and works of Szlengel. [ABSTRACT FROM AUTHOR]

This article introduces an unknown personal holograph manuscript by Thomas Hoccleve: Cambridge, Trinity College, MS O. 7. 43. The new manuscript, only recently digitized, has never been associated with Hoccleve; in fact, it has lived under the radar of literary scholarship for the last six hundred years. The manuscript is here described, then it is demonstrated palaeographically that it is written in Hoccleve's hand; the contents are discussed with some of the implications of this discovery. In conclusion, it is suggested that the manuscripts bequeathed in 1738 by Roger Gale to Trinity College could preserve four others that the poet may have owned, raising the probability that the Gale bequest represents a portion of Hoccleve's private library. [ABSTRACT FROM AUTHOR]

Thomas Hardy often composed with two distinct media in mind: print and inscription. Designing epitaphs for the tombstones of family members before turning to verse to reflect upon this largely frustrating inscriptive work, Hardy expressed a particular interest in the divergent capacities for alteration afforded by paper and stone. Reading Hardy's monumental inscriptions alongside the poems they inspired, this article assesses the extent to which Hardy's simultaneous engagement with manuscripts and tombstones—two surfaces that presented drastically different capacities for amendment—shaped his understanding of the function and potential of revision. Turning first to Hardy's lifelong interest in stonework, this article considers the poet's personal experience with letter-cutting and epitaphic design, before offering a close textual reading of the poetry this activity inspired. Considering three key verses penned in reflection upon the poet's lapidary endeavours, I examine the compositional tension between media that emerges through revision, and the problem this poses for Hardy's curious tendency to conflate the act of writing with the act of carving. [ABSTRACT FROM AUTHOR]

The article focuses on the exploration of infraverbal human language, such as bodily sounds, by modern poets since the end of World War II, including the experiments of lettrists, sound poets of the 1960s, and contemporary poets. It discusses how these poets use ordinary human sounds to challenge traditional language norms, addressing theoretical debates on phonocentrism and writing domination, and inviting reflection on embodiment, spontaneity, and human identity.

The proletarian writer H. T. Tsiang worked and lived in the US under the constant threat of deportation since arriving in the country under the Johnson-Reed Act. This article examines a cache of poetry that Tsiang wrote in the Ellis Island detention center from 1940–1941 and mailed to the painter, book illustrator, and author Rockwell Kent. These poems, which are preserved among Kent's papers in the form of a toilet paper manuscript, a make-shift chapbook, and typescript sheafs, were roundly rejected by publishers in Tsiang's time. Yet they speak to his precarious immigration status and his long-term project of constituting proletarian readerships outside US publishing. Tsiang's unpublished poems, I argue, composed a counterpublic of early Chinese American writing that grew from, and responded to, the conditions of exclusion. Having been detained on both Angel Island and Ellis Island, Tsiang was willing to take the "crooked path" into US cultural memory. [ABSTRACT FROM AUTHOR]

Rejections are a given in any poet's career. This essay considers how rejections and the idea of the unpublished fragment might shape poetic form, how practical decisions might turn into aesthetic ones. Both Hart Crane and Jack Spicer had careers among magazines, the experiments of their writing entwined with ephemeral publishing cultures and communities. This essay explores how, through their own distinct experiments with splintered forms of the long poem, magazine rejections also created opportunities in Crane's and Spicer's poetry. Both poets turned practical processes into aesthetic experiments, exploring the states between writing, submission, publication, and acceptance or rejection. Yet practical decisions can turn into aesthetic ones. Indeed, the playful tension between practicality and aesthetics sits at the heart of poetic form. Crane and Spicer both incorporated rejections—unpublished poems or poems waiting on publication through various submissions—into the form of their work. [ABSTRACT FROM AUTHOR]

This interview with poet Jericho Brown, winner of the 2020 Pulitzer Prize for Poetry for his book The Tradition (2019), includes anecdotes from his childhood, reflections on life and writing after receiving a major literary prize, meditations on his role as a teacher, a description of inventing a new poetic form, his journey to declare identity within his art, the upheavals of 2020, and shifting attitudes around social justice, censorship, and public education. [ABSTRACT FROM AUTHOR]

The article delves into the reception of French poet Paul Valéry in America, particularly focusing on an anecdote involving William Carlos Williams reading Valéry's address in a rural setting. It explores the juxtaposition of Valéry's eminence as a poet with the down-to-earth reality of American rural life. It discusses the evolving perceptions of Valéry's poetry over time, examining how various poets, including Wallace Stevens, engaged with his work.

The article delves into the historical and symbolic dimensions of poetic fame, tracing its evolution from ancient times to modernity. It reflects on how poets of various epochs have approached fame, from the classical boasting of prowess to the Romantic ideals of suffering genius. It discusses the enduring imagery associated with fame, such as its lofty heights, metaphorical wings, and symbolic mountains like Parnassus and Helicon.

A long-standing debate about the relationship between the poet John Milton and his nephew John Phillips has been undermined by inaccuracies in the bibliographical record and the failure of scholars to identify relevant passages in Phillips's writings. This article brings new evidence with specific reference to A Satyr Against Hypocrites (1655), containing an overlooked attack upon Milton; the Montelion almanacs (1660, 1661, 1662), establishing that all were authored by Phillips, each containing disparaging remarks about Milton; and Don Juan Lamberto (1660–1), confirming Phillips's authorship and revealing a hitherto unrecognized satirical attack upon Milton. [ABSTRACT FROM AUTHOR]

The article explores the comedy in the poetry of Wallace Stevens, paying attention to aspects of tone, diction and vocabulary. Topics discussed include ambiguity and peculiarity in the tone of Stevens' poetics to avoid accusations of dogmatic or doctrinaire writing and enable a gap between being serious and sounding serious, sense of joke played on through language, act of composition and rightness in words, and interplay of reality and imagination that underlies Stevens' use of language.

Indian literary heritage is vast and is of great importance; to explore it, one has to devote them in studying dialects (Khariboli, Haryanavi, Brajbhasha, Awadhi, Bhojpuri, Marwari, etc.) especially when old Hindi is under the lens of observation. Chanda are poetic compositions that have well-defined structures. Dohā is a kind of chanda which, in our work, has been explored using Kabir's compositions as a case study. Kabir represents the cult of poets who relied on oral means for the propagation and consumption of poetry. The poems were communicated to the later generation through simple acts of recitation and hearing, leading to obvious mutation and multiple versions of the same compositions when documented later and hence needs restoration (at least metrically). Using the knowledge from the state-of-art models metadata generator , Text2Mātrā, and RPaGen and extending beyond them, this article is first of its kind to present Kabir's dohā within the scope of restoration, metrical computation, and statistics. Starting with the restoration process, the proposed algorithms generate data that are subjected to suitable statistical models. These models highlight the trends in the dataset, which is helpful in realizing abstract patterns inside the textual data. [ABSTRACT FROM AUTHOR]

The article identifies Mr. P as Reverend Thomas Powys, rector of Fawley, Buckinghamshire, England, to be the contributor of poems published in "European Magazine" from October to December 1804. Clues in the text of the poems are cited that helped unearthed the identity of Mr. P such as geographical references to Fawley, biographical information and inclination to fulfill his pastoral duties. It provides information on the career of Powys including as domestic chaplain and Justice of the Peace.

What is it in virtue of which any poetic output will be included or excluded from the category of art? I will first identify the external demarcation problem, which is concerned with whether or how the cut-off is made between art and non-art. I will then adopt a nonclassical approach to conceptual analysis by relying on a set of examples of poetry generated by aleatory processes to evaluate an intention-based response to the external demarcation problem. I will argue in favor of an intention-based response that is grounded in hypothetical intentionalism. According to this response, a contextually informed audience will form a hypothesis about poetic intentions on the basis of the evidence that a work makes publicly available. Semantic, categorial, and ostensive intention and intention traces may help this audience to determine whether a work counts as art and is worth effortful interpretation. My proposed version of an intention-based response to the external demarcation problem will be based on the p -valued hypothesis-testing approach in science and will be highly relevant to a context of production in which we find human poets, poetry-generating AI systems, and human-AI interfaces. [ABSTRACT FROM AUTHOR]

On the other hand, an exclusively inter-Celtic perspective on the relationship between Wales and Brittany that bypasses French risks reducing the complexity of Brittany's case. For a Welsh French Studies: Breton Poets "Writing to Wales" In 2003, I wrote a paper describing the work of Breton regionalists of the nineteenth century as "writing I to i Paris".[1] What I meant was that, while celebrating their native region and its culture, these writers had one eye on Parisian literary tastes and fashions, and that this focus on Paris was an inescapable part of their success. [Extracted from the article]

The article offers information about the Paris Review, a literary magazine founded by George Plimpton in 1953. It discusses the magazine's aim to produce "eclectic excellence" and its use of interviews to reach a wider audience. The interviews, categorized as "The Art of Poetry," and "The Art of Criticism," explore the creative process and professionalism. It highlights early interviews with Nelson Algren , with modernist poets T.S. Eliot, Marianne Moore, and Ezra Pound.

This chapter has twelve sections: 1. Early Middle English (c. 1050–1350); 2. Manuscript and Technical Studies; 3. Religious Prose and Verse; 4. Secular Prose; 5. Secular Verse; 6. Piers Plowman ; 7. Gower; 8. Older Scots; 9. Drama; 10. The Gawain Poet; 11. Romance: Metrical, Alliterative, Malory; 12. Hoccleve and Lydgate. Section 1 is by Samira Lindstedt; section 2 is by J.D. Sargan; section 3 is by Natalie Calder; section 4 is by Mark Ronan; sections 5, 10, and 11 are by Darragh Greene; section 6 is by Seth Strickland; section 7 is by Rebecca Menmuir; section 8 is by Kate Ash-Irisarri; section 9 is by Sarah Brazil; section 12 is by Laurie Atkinson with assistance from Rebecca Menmuir. [ABSTRACT FROM AUTHOR]

The article presents biography of the Welsh metaphysical poet Henry Vaughan. He was born in 1621 and brought up at Tretower Court in modern-day Powys and was educated by Matthew Herbert, rector of Llangattock, and at Jesus College, Oxford. His twin, Thomas, was a poet, too, and an alchemist. Hanry died in 1695.

The article examines the suppressed polemic in an unpublished poem in 17th-century royalist poet Thomas Stanley's Cambridge poetic manuscript indicating that he was not removed from polemical verse. Topics include Stanley's lack of participation in contemporary polemic in Great Britain, an indication that the untitled elegy from his manuscript may have been written for Henry, Lord Hastings, after his death in 1649, and an authoritative analysis of Stanley's poetry by Galbraith Crump.

The article discusses the life and poetry of Jack Gilbert, poet who published only five collections of poetry during his lifetime. It is reported that Gilbert's poetry has been characterized by his perspective from a farm on a Greek island and his European travels. It further explores Gilbert's tendency to reflect on his life in his poetry, particularly in his later collections, and his preoccupation with the question of what has mattered in life.

This article argues that Ronsard's Hymnes (1555–56) offer an ironic reading of ghost figures and the fear of daimons. Through various strategies that aim to create a form of complicity with the reader, the Hymnes challenge the seriousness of ghosts by mocking the fear they induce. Throughout the Hymnes , which offer a double reading (a cryptic one, to be understood only by a few, and an explicitly allegorical one), the poet pokes fun at the supposed power of ghostly and demonic figures in order to provoke laughter, and specifically to laugh with his own patrons and friends. This article examines the figure of Charles de Lorraine and the well-known poem 'Les Daimons' to show that despite the explicit demonological content of the Hymnes , their poetics clearly gesture towards a celebration of playful 'fantaisie', which even when intended to provoke fear can be enjoyed with humour and derision. [ABSTRACT FROM AUTHOR]

The translation of the Aeneid by a leading Symbolist poet Valerii Briusov, on which he worked most of his life, failed to gain favor with Russian readers because of its literalism. Combining various theoretical approaches with a close analysis of the text this essay explores why Briusov's translation failed in the context of the cultural and aesthetic demands of the era in which it was composed. [ABSTRACT FROM AUTHOR]

The article focuses on Abraham Cowley biblical epic Davideis as there is a previously unremarked echo of the Astronomica, a didactic epic by the ancient Roman Stoic poet Manilius. Topics include considered that Cowley never finished writing Davideis, and the Preface to his 1656 Poems where he first published it.

Rāghavāṅka lived in the first half of the thirteenth century, when the Kannada devotional tradition we now call 'Vīraśaivism' or 'Liṅgāyatism' was at a nascent phase; the use of these labels was tenuous and the social boundaries of the local devotional movement less rigidly defined. 1 Unlike a simplistic but common perception of early devotional movement in the Kannada region as being anti-Brahmanical, egalitarian, quasi-democratic, anti-ritualistic, and so on, 2 texts by Rāghavāṅka and others, which are the earliest we have, present a more complex picture of cultural negotiations and religious diversity, not only in relation to entities external to the local Śaiva tradition but also among Śaivas. This divergence is reflected even within the literary production of a single author: while most of Rāghavāṅka's works can be easily read as primarily promoting devotional values that correspond to an inclusive, non-elite, and anti-court agenda, his most celebrated literary work, the Life of Hariścandra (Hariścandra Cāritra), presents a more complex mixture of conservative values associated with Brahmanical orthodoxy and royal power combined with the emerging devotional idiom of the Kannada-speaking region. This article pays attention to ethical complications in the Life of Hariścandra and to how the later tradition negotiated these against a clear set of inclusive, anti-Brahmanical, and anti-court ideals. With this analysis, I wish to suggest a more dynamic understanding of how Vīraśaivism positioned itself in relation to Brahmanical orthodoxy and royal power. As recent studies show, religious identities in the premodern, which today we think of using labels such as 'Vīraśaivism' and 'Brahmanical orthodoxy', were not static but rather a product of a dialectical and historically dynamic process, a process that involved refashioning and self-repositioning in relation to other emergent religious actors. 3 This article reconstructs such a negotiation about social values and religious identity as it unfolded in Vīraśaiva devotional narratives. [ABSTRACT FROM AUTHOR]

Her PhD research was on hybridity and the sacred, in the poetry of Joy Harjo, Louise Glück, and Kei Miller, funded by an Arts and Humanities Research Council scholarship at Royal Holloway University. Karen McCarthy Woolf is a poet, editor, and ecopoetry scholar from London. Of Trees & Other Fragments * In Warsaw E Annie Proulx writes me a note, To Karen, poet of trees, and climate change and music, What are trees? You could use the coupling as a political intervention, and you could use it as a way to subvert an existing text, as I do in my poem "Horse Chestnut I: A Coupling", which subverts a letter that Charles Darwin sent to J. D. Hooker.[2] Or you might use it to amplify a text, as I do in my poem "Horse Chestnut II: A Coupling", which expands upon Basho's haibun I The Narrow Road to the Deep North i . [Extracted from the article]

But Clare is not a farmer, or even simply a peasant; he is a scavenger, and from his earliest complete poems to his last fragments, Clare's poetry was informed most deeply by his placement in the world as a scavenger. Footnotes 1 See John Barrell's I The Idea of Landscape and the Sense of Place i ; Jonathan Bate's I The Song of the Earth i and Biography of Clare; Mina Gorji, I John Clare and the Place of Poetry i ; Eric Robinson on Clare; and John Burnside's chapter in I New Essays on John Clare i "John Clare and the new varieties of enclosure: a polemic", which places Clare in the midst of our current environmental disaster. If what Yi-Fu Taun claims about the literature of farming - that "what we have is a vast, largely sentimental, literature on the farming life written by people with uncallused hands" - is true, the English poet John Clare (1793-1864) is one of the greatest exceptions (Tuan 98). Next, I will turn to poems written in the aftermath of enclosure, when Clare started to write birds' nest poems: transferring the act of scavenging from humans to birds. [Extracted from the article]

This essay describes Ivor Gurney's use of the word 'strafe' in his poems of the First World War. At the outbreak of the War, the word was a new arrival in the English national consciousness. It had come to prominence in the German Army's slogan, ' Gott strafe England ' ('God punish England'). Allied counterpropagandists soon redeployed this slogan as evidence that the German people were hateful and frenzied, and it gained currency as an informal English noun for a German artillery bombardment. In poems dating from during and after the War, Gurney draws on 'strafe's' interlinguistic existence to express his contempt for the two powers' propaganda. In treating the word as fluctuating between two languages, Gurney stages his separation from both English and German narratives of nationhood. Tracking his use of the word 'strafe' shows how he described the importance of individual experiences for understanding the War, portrayed a sense of 'Wonder' that he suggested could define soldier poets, and expressed his post-war belief that England had betrayed him. By outlining how Gurney attached these possibilities to 'strafe', this essay contributes to the wider critical understanding of how and why he wrote about his War experiences. [ABSTRACT FROM AUTHOR]

In the late 1920s, a number of poets of the fabled Generation of '27 turn to Surrealism as the expression of a personal, generational, and poetic crisis. Alberti, Lorca, Cernuda, and Aleixandre's Surrealist phase marks an axis or hinge between their 'dehumanized' poetry of the early 20s and their socially and politically committed texts of the 1930s. Drawing on critical theory ranging from Marcuse, Bürger, Jameson, and Benjamin to Lacan and Foucault, as well as articles and books devoted to the study of Spanish Surrealism in addition to the individual poets under consideration, this article offers a close reading of five canonical books of Spanish Surrealist poetry and reveals the ideological nature of apparently ahistorical, non-ideological texts. [ABSTRACT FROM AUTHOR]

The article discusses the writing style of Geoffrey Hill. Hill's rhyme can be divided into those of impossibility and inevitability. There is a change in the character of Hill's rhyme after the three Hymns to Our Lady of Chartres in 1984; The Pentecost Castle is considered as Geoffrey Hill's most effectively artless poems.

The article discusses writing style of Arthur Hugh Clough and the use of superlatives as a prominent feature in his poetry and prose. Clough uses superlatives as his stylistic preference for his works which he termed as double-mindedness. Superlatives for Clough, offers means of testing validity of arguments and opinions by exaggerating the grammar of their expression.

This article examines the evolution of PN Review , a leading Manchester-based poetry magazine, in relation to second-wave feminism in the 1970s and 1980s. Largely funded by the Arts Council of Great Britain, the magazine was initially not a welcoming place for female poets and contributors. Women's poetry was often disparaged, and few women contributed to the magazine. From the early 1980s, however, PN Review started to include more women voices—a transition led by the founding editor Michael Schmidt, who was eager to include forgotten and neglected female poets on his list. This essay argues that changes in public funding, and increased market opportunities for women authors and feminist ideas, forced the magazine to evolve and adapt quickly. Women were taking a more visible role in the publishing world, as the success of the feminist press Virago (created in 1973) shows. Women poets were becoming more vocal, and openly denounced their marginalization in the poetry scene. The funding cuts decided by Margaret Thatcher's government led to profound changes as Arts Council 'clients' competed fiercely to survive in a tough landscape. Changing priorities at the Arts Council—including the need for more diversity in publishing—also had an impact on grant holders. PN Review therefore offers a good example of a literary institution that was directly pushed towards gender diversity through external pressures from the Arts Council of Great Britain and the market. [ABSTRACT FROM AUTHOR]

The article uncovers details about Jamaican poet Francis Williams' often-misunderstood background with a focus on the poem "Ode to George Haldane" that has been officially attributed to him. Topics include a brief background on his family, argument on Edward Long's translation of the poem by Williams, and a number of inaccuracies and examples of Long taking flagrant creative license in the poem.

The author reexamines the poetry of Kenneth Fearing with a changed sense of his own stage of life. He discusses how Fearing's poems evoke the pain and confusion of individuals who expected lives of glory but instead sank into frustration, fury and failure. He also considers how Fearing writes in a premature awareness of the regrets and indignities of old age.

The article explores poet Rupert Brooke's relationship with Leona Agnes Smith, Marchesa Capponi, whom Brooke met at Lake Louise in Canada in 1913. Topics discussed include Brooke's letters to Smith from 1913 to 1915, Smith's relationship with the first chairperson of Stanford's English Department Melville Best Andersen, and her marriage to industrialist Gustav Emil Hubert Kamper.

The article discusses the way poets John Clare and Elizabeth Bishop explore what it might mean to have fidelity to the independence of other lives from the observing self. Topics covered include Clare and Bishop's characterization as descriptive poets, the power of their poems to occupy a lower position in relation to the object of attention, and their defense of observation.

This essay examines William Wordsworth's attraction to fractious and perplexing selfhood. Attending to the often overlooked riches of the Cornell edition of Wordsworth's poetry, I argue that the poet's sense of the self is more than a straightforward aspiration towards organic creation. Recent scholarship has cast Wordsworth's processes of revision as an effort to create continuity between his past and present selves. Memory, in this respect, becomes an instrument to invest back into original moments of creation. It is my contention that Wordsworth is instead fascinated by a self that cannot be drawn together neatly. I also consider the psychological contexts of Wordsworth's writing. Contemporary theorizations of memory were sometimes too quick in reforming the fragmentary aspects of memory into a positive state of unity. Wordsworth's poetic and compositional practices, then, challenge the stricter divisions in the eighteenth century between undesirable and splintered forms of selfhood and the more unified kinds of self, which usually rely on fulfilling a telos. Teleological views of selfhood, in Wordsworth's eyes, are insufficient to account for the contingencies and happenstance that are natural and attractive aspects of experience. As this essay suggests, his practice of revision often thrives on the unpredictable elements of composition and drawn on by an attraction to the unknown. [ABSTRACT FROM AUTHOR]

Deep neural networks have been widely used in various language processing tasks. Recurrent neural networks (RNNs) and convolutional neural networks (CNN) are two common types of neural networks that have a successful history in capturing temporal and spatial features of texts. By using RNN, we can encode input text to a lower space of semantic features while considering the sequential behavior of words. By using CNN, we can transfer the representation of input text to a flat structure to be used for classifying text. In this article, we proposed a novel recurrent CNN model to capture not only the temporal but also the spatial features of the input poem/verse to be used for poet identification. Considering the shortcomings of the normal RNNs, we try both long short-term memory and gated recurrent unit units in the proposed architecture and apply them to the poet identification task. There are a large number of poems in the history of literature whose poets are unknown. Considering the importance of the task in the information processing field, a great variety of methods from traditional learning models, such as support vector machine and logistic regression, to deep neural network models, such as CNN, have been proposed to address this problem. Our experiments show that the proposed model significantly outperforms the state-of-the-art models for poet identification by receiving either a poem or a single verse as input. In comparison to the state-of-the-art CNN model, we achieved 9% and 4% improvements in f-measure for poem- and verse-based tasks, respectively. [ABSTRACT FROM AUTHOR]

Sraffa's diaries report that from June 1929 until late 1932 he often met with the literary scholar, poet and philosopher Raffaello Piccoli, Professor of Italian in the University of Cambridge. After a brief biographical sketch of Piccoli, the paper reconstructs the story of their friendship, thus contributing to the reconstruction of Sraffa's biography in 1929–1932. It also considers their meetings with Carlo Rosselli in 1929–1931, together with their common friendship with Ludwig Wittgenstein. [ABSTRACT FROM AUTHOR]

The article features essayist and poet Edward Thomas (1878-1917) and his personal life, particularly his financial insecurity or poverty. Topics include Thomas' work as book reviewer in newspapers and writer of critical studies, his metaphor for psychological experience of restriction, and Thomas' 1906 book "The Heart of England."

I offer one alternative to media depictions of migrant bodies as animalistic threat by tracing animal movement in Rajiv Mohabir's poetry. Mohabir is a queer Indo-Caribbean American poet whose poetry depicts animals' fettered movement, often a consequence of heteropatriarchal and nationalist operations of power. Mohabir suggests that such artistic productions might align and thus ally themselves with disparate imperiled bodies due in part to the ethics of Coolitude , or, the state of having descended from Indo-Caribbean coolies. Mohabir has revitalized the term in a series of manifestos and craft essays published on Jacket2 , where he claims Coolitude poetics as a corrective to the kind of nationalist mindset that would condemn imperiled migrants. Mohabir's poetry prominently features two kinds of creatures: those who enjoy conditional movement, such as the whales that populate verse from across his career, which denotes a subject's attempts to free themselves from the conscripts of heterosexual or imperial legacies; and those such as the taxidermied wren or coyotes that adorn his first published collection, The Taxidermist's Cut (2016). These figures best describe political subjects who have internalized the resentment of their political environment and are consequently destroyed. Mohabir does, however, offer one other figure: the unfettered whale of "Why Whales are Back in New York City" (2017). The whales of this poem represent a subject that succeeds in defending itself from the oppression that distinguishes the rest of his poetry; the poem thus serves as a model of sanctuary. [ABSTRACT FROM AUTHOR]

The article provides an overview of project "Book Traces" of the University of Virginia. It mentions that the students found, in open stacks, two book volumes by Lost Cause apologist Edward Alfred Pollard namely "Southern History of the War: The First Year of the War," and "Southern History of the War: The Second Year of the War." It also informs on Edward A. Pollard's book "The Lost Cause: A New Southern History of the War of the Confederates."