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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.

Addressing texts produced by writers who lived through the Civil War and wrote about it before the end of Reconstruction, this collection explores the literary cultures of that unsettled moment when memory of the war had yet to be overwritten by later impulses of reunion, reconciliation, or Lost Cause revisionism. The Civil War reshaped existing literary cultures or enabled new ones. Ensembles of discourses, conventions, and practices, these cultures offered fresh ways of engaging a host of givens about American character and values that the war called into question. The volume's contributors look at how literary cultures of the 1860s and 1870s engaged concepts of nation, violence, liberty, citizenship, community, and identity. At the same time, the essayists analyze the cultures themselves, which included Euroamerican and African American vernacular oral, manuscript (journals and letters), and print (newspapers, magazines, or books) cultures; overlapping discourses of politics, protest, domesticity, and sentiment; unsettled literary nationalism and emergent literary regionalism; and vernacular and elite aesthetic traditions. These essays point to the variety of literary voices that were speaking out in the war's immediate aftermath and help us understand what those voices were saying and how it was received.

In the summer of 1865, a previously enslaved African American named George Moses Horton traveled for three months with the Ninth Michigan Cavalry as the Union army secured North Carolina. It was probably during this time that Horton wrote a poem entitled “The Obstructions of Genius,” reflecting on the obstacles that had limited his career as a poet. Reminding readers of Horton’s regional fame as the “black bard of North Carolina,” the opening stanza suggests that the poet has been treated with mistrust by both blacks and whites: I am surveyed by envy’s eye. By white and colored all the

The recommendations in a psychoeducational report are acted upon by the child’s parents and teachers, with the intention that they have a positive impact on the child. However, recommendations are not always adhered to, for a variety of reasons. To date, the rate of teacher adherence to recommendations has not yet been investigated. This study investigated how much teachers adhere to recommendations and the potential factors impacting adherence. In a semi- structured interview, teachers were asked about each school recommendation from a psychoeducational report for a student they had taught, whether they had used the recommendation (adherence) and for any reasons or circumstances that interfered with being able to use the recommendation (barriers). Teachers were also asked in general for any reasons or circumstances that helped them use the recommendations. In the current study, teacher adherence rates were high (74.5% overall). Thematic analyses were conducted to understand the factors involved with adherence, finding five recommendation themes, eight barrier themes, and four facilitator themes/subthemes. Further descriptive analyses show the adherence rates across the recommendation and barrier themes, as well as the occurrence of the different barrier themes across recommendation themes. This study provides a framework for future research to use when investigating teacher adherence, as well as provides insight into the real-life difficulties of adhering to recommendations. Future research in this area should further explore the impact of barriers on teacher adherence, as well as examining other potential influencing factors (e.g., demographic variables, age or diagnosis of student, number of recommendations).

This essay reviews scholarly work over the last twenty years on Emily Dickinson's relationship to the Civil War. Beginning with detailed commentary on Shira Wolosky's Emily Dickinson: A Voice of War, the review offers an overview and analysis of the growing list of books and articles that address this topic.

Yet Dickinson's poetry of the Civil War era raises important questions about speaking to and for \"America\"; as the ironic stance of the post-war letter to Todd suggests, these questions are invariably raised obliquely. Following the publication of Johnson's complete edition of the poems in 1955, the first generation of scholars who read Dickinson emphasized her intellectual and physical isolation from the outside world.2 Recent scholarship, however, urges us to consider the ways in which her work addresses both her immediate community of family and friends and the wider audience she undoubtedly reached through circulation of her work in correspondence; recent scholarship also urges us to consider the ways in which Dickinson's work addresses political and literary developments in nineteenth-century America.3 Embracing these recent studies, my approach to Dickinson's address to the nation begins with the premise that we must attend to the ways in which her work is vitally connected to its historical and social context. Dickinson's work suggests that the stability of the poet's platform in addressing the nation depends upon the speaker's ability to bear witness to the suffering of others; this is a stance which she profoundly mistrusts.4 Moreover, Dickinson is not alone is displaying this mistrust; the address to the nation is undercut by anxiety and tension in the work of many America writers of the nineteenth century. In order to understand Dickinson's suspicions about address, we need also to consider Whitman's enthusiasm for it.6 An examination of address which juxtaposes Dickinson's Civil War poetry with Whitman's will shed greater light on the range of stances available to all American poets in this period.7 The analysis that follows then will compare scenes of the address to the nation and scenes of wartime suffering as they are depicted by both Dickinson and Whitman. In these poems, both poets explore the limitations of Romantic poetry in representing the horror of war; both also raise urgent questions about poetic and painterly traditions which situate American identity in the wholeness of natural landscapes.