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A superb selection of poems from both sides of the American Civil War features more than 75 inspired works by Melville, Emerson, Longfellow, Whittier, Whitman, and many others.
Writers on both sides of the American Civil War “brought to the crisis” (in editor J. D. McClatchys’ words) “poetry’s unique ability to stir the emotions, to freeze the moment, to sweep the scene with a panoramic lens and suddenly swoop in for a close-up of suffering or courage.” This vibrant collection brings together the most memorable and enduring work inspired by the conflict: the masterpieces of Whitman and Melville, Sidney Lanier on the death of Stonewall Jackson, the anti-slavery poems of Longfellow and Whittier, the front-line narratives of Henry Howard Brownell and John W. De Forest, the anthems of Julia Ward Howe and James Ryder Randall. Grief, indignation, pride, courage, patriotic fervor, ultimately reconciliation and healing: the poetry of the Civil War evokes unforgettably the emotions that roiled America in its darkest hour. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
This anthology brings together extensive selections of poetry by the live most prolific and prominent women poets of the English Civil War period: Anne Bradstreet, Hester Puller, Margaret Cavendish, Katherine Philips and Lucy Hutchinson. These poets participated in elite poetic culture at the highest level, writing elegies, panegyrics and epics; they were politically engaged; and their female authorship strategies were nuanced but clear, as they took diverse approaches to publication in manuscript and print. Their poetry is at the centre of discussion and debate about early modern women's poetry, but until now, substantial edited selections of their work have not been available in one place. The anthology brings together the most innovative, complex poems of each writer, revealing the diversity of women's poetry in the mid-seventeenth century, as it traversed political affiliations and material forms. This anthology presents poems in modern-spelling, clear-text versions for classroom use, and for ready comparison to mainstream editions of male poets' work. Notes on the poems and an introduction explain the contexts of the Civil War, religious conflict, and scientific and literary development, and will serve students' and academics' needs alike. Women poets of the English Civil War is ideal for use alongside mainstream anthologies of early modern poetry, enabling a more comprehensive understanding of seventeenth-century women's poetic culture, in its own right, and in relation to prominent male poets such as Marvell, Milton and Dryden.
Poems, letters, and prose from the war years include "O Captain! My Captain!" "When Lilacs Last in the Dooryard Bloom'd," "Adieu to a Soldier," and many other moving works.
"Original French text and English translations of Afro-Creole poetry published in L'Union and La Tribune (Civil War-era New Orleans newspapers established by free people of color), with a scholarly introduction and brief biographies of the poets"--
This book explores the things which united, rather than divided, poets during the English Civil Wars, focusing less on conflicts between 'Cavaliers' and 'Roundheads' than on the friendships and shared literary enthusiasms of men of various political allegiance. Includes new readings of the early verse of John Milton and Andrew Marvell.
Based on two years living and researching in Gettysburg, Pennsylvania, What Though the Field Be Lost uses the battlefield there as a way to engage ongoing issues involving race, regional identity, and the ethics of memory. With empathy and humility, Kempf reveals the overlapping planes of historical past and public present, integrating archival material—language from monuments, soldiers' letters, eyewitness accounts of the battle—with reflection on present-day social and political unrest. Here monument protests, police shootings, and heated battle reenactments expose the ambivalences and evasions involved in the consolidation of national (and nationalist) identity. In What Though the Field Be Lost, Kempf shows that, though the Civil War may be over, the field at Gettysburg and all that it stands for remain sharply contested. Shuttling between past and present, the personal and the public, What Though the Field Be Lost examines the many pasts that inhere, now and forever, in the places we occupy.
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.
Focusing on literary and popular poets, as well as work by women, African Americans, and soldiers, this book considers how writers used poetry to articulate their relationships to family, community, and nation during the Civil War. Faith Barrett suggests that the nationalist "we" and the personal "I" are not opposed in this era; rather they are related positions on a continuous spectrum of potential stances. For example, while Julia Ward Howe became famous for her "Battle Hymn of the Republic," in an earlier poem titled "The Lyric I" she struggles to negotiate her relationship to domestic, aesthetic, and political stances. Barrett makes the case that Americans on both sides of the struggle believed that poetry had an important role to play in defining national identity. She considers how poets created a platform from which they could speak both to their own families and local communities and to the nations of the Confederacy, the Union, and the United States. She argues that the Civil War changed the way American poets addressed their audiences and that Civil War poetry changed the way Americans understood their relationship to the nation.