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\"The sublime collection of 418 superbly detailed paintings of hummingbirds by the great artist John Gould, the 19th-century naturalist painter often referred to as the British Audubon, represents all the known species on the planet at the time and is the most complete ever produced. Like Audubon, Gould depicted the birds as they are in life, in their native habitats, which was still a revolutionary approach at the time. Yet Unlike Audubon, Gould travelled widely across the globe and the exquisite hummingbirds he painted so beautifully represent all the known species at the time and haled from the most remote and exotic ecosystems on the planet. In their essay for the book, co-writers Joel and Laura Oppenheimer tell the story of Gould's colourful life and place his work in the context of the times, when exploration of science and the world s natural wonders was at an all-time high. The Family of Hummingbirds will delight birdwatching hobbyists, fans of naturalist historical prints, and especially lovers of the avian Tinker Bell.\"--Provided by publisher.

In 1917, Gilbert Gould achieved his dream to be an engineer, and began running engines for the Denver & Rio Grande and later for the Utah Railway. He was a natural storyteller, and his recollections are entertaining and historically rewarding.

This dissertation analyzes the life and published novels of noted Arkansas author Charlie May Simon, a woman whose writing career spanned four decades, during which time she remained an Arkansas resident. None of her twenty-nine published novels, biographies, or memoirs remain in print. Although a yearly award was established in 1970 by the Arkansas Department of Education— the Charlie May Simon Book Award— educators and librarians have difficulty obtaining copies of her own writing that set the high bar of excellence each award recipient demonstrates. My purpose in research is to uncover the prose beauty of Charlie May Simon’s writing, examine the history of her life and the times in which she produced her work, and wrestle with the factors that caused her voice to go silent, lost to our current generation. Broader implications of research include the ability to view patriarchy, gendered performance, and gender roles through the lens she provides in her writing of the times in which she lived. The research conducted occurred in four special collections archives: Butler Center of Arkansas Studies (John Gould Fletcher/Charlie May Simon photograph collection, BC.PHO.32 and Charlie May Simon Materials, MSS.97.28), University of Arkansas in Little Rock Center for Arkansas History and Culture (Charlie May Simon Papers, UALR.MS.0006), University of Memphis Libraries (Mississippi Valley Collection, Charlie May Simon MSS.41), and Syracuse University in New York (E.P. Dutton & Company, Inc. Records). Analysis of her published works, including illustrations and text, is taken from my personal library collection of all Charlie May Simon published books. Literary analysis is the primary focus of the study; new historicism is the literary criticism lens of my methodological approach to contemplate the culture, historical events, and life occurrences that fueled the creative spirit of Arkansas’s most prolific author of the 20th century. Areas for further research are outlined in the conclusion, signifying implications which additional scholarship and archival research in the four collections could reveal. In each collection, personal and business correspondence chronicle the indomitable spirit of the Arkansas literary diamond, Charlie May Simon.

Fletcher's essay from the 1930 collection I' ll Take My Stand: The South and the Agrarian Tradition was his first conscious articulation of regionalism, but Carpenter argues that Fletcher's time in Europe was \"an attempt to come to grips with and comprehend the source of his own culture, since the Southerner, of all Americans, is privy to the emotions founded in the state of knowing himself to be a foreigner at home\" (100). (Between Two Worlds 18) Much like the sorrow songs Du Bois recovered in The Souls of Black Folk (1903) and the role of the vernacular in the literature of the Harlem Renaissance, Paredes' \"Africa,\" as Saldívar has it, \"resonates with the certainty of how art, song, and dance function as historical knowledge\" (Borderlands 259).4 The poem's ululations make audible the U.S.'s long history of slavery, but its title also invokes the continent's de-colonial struggle against Britain, France, and Spain at the time (Kelley 123). [...]the final stanza merges De Soto, a cypress tree, and Fletcher in the following manner: Between the two central white columns, the front walk ran straight to the gate; And my father had shown How the stars of the Dipper, by circling the Pole, kept over there to the strait Passage between the maples, magnolias, the oaks, and the maidenhair trees; Drawing a steady bead on the distant Pole; So he kindled my soul With something perhaps far more than he meant, alone there at night with the breeze Of the Gulf blowing up, and the meteors moving away; And it woke in me on that day When at last to the North away from the house I had gone; Away from the house, and alone with my star of dark fate; Not knowing if it meant midnight for me, or maybe a far- offdawn.

Allen Tate on visiting Civil War battlefields in 1927 (Underwood 129) Allen Tate's \"Ode to the Confederate Dead\" (1926-1937), a work which has established itself as the canonical example of Southern modernist poetry, is a poem that seems to be founded on its own impossibility: the inability of the speaker, or the modern \"Narcissus\" as Tate called him, to mourn the soldiers of the Civil War (Essays 607). Beneath the sublimation into bland marble forms of much of the poetry of the Lost Cause lies a darker iconology of tomb, ruin, cadaver, stained statue, and the suffocating Confederate matriarch and her victim-son; it is this which survives in such works of Southern poetic modernism as John Gould Fletcher's Imagist series \"Ghosts of an Old House\" (1916), Tate's \"Mother and Son\" (1930), or John Crowe Ransom's \"Necrological\" (1922), the first work in the sceptical, witty Fugitive style (none of these poems are ostensibly about the Civil War).

Due to the history of racism in America, African Americans have always held a conflicted relationship with it. This is true in both regional and local contexts. This study imagines the ways in which African American Arkansans are contributing to the notion of “place” in both real and imagined ways via published fiction, oral histories, and memoirs. The bildungsroman, or coming of age genre, serves to unify seeming disparate genres in the project, as all texts in the study depict growing up in Arkansas. The most comprehensive treatment of Arkansas as a place may be found in Brooks Blevins’s cultural history, Arkansas/Arkansaw: How Bear Hunters , Hillbillies and Good Ol’ Boys Defined a State. Herein, Blevins uses cultural artifacts from Arkansas’s frontier history to the Clinton presidency to account for how the hillbilly became the image most often associated with Arkansas. This regional treatment of Arkansas’s image inspired my search for African American artifacts depicting Arkansas. This study examines four historical periods of African American literature depicting Arkansas. To demonstrate how competing narratives of place exist, it begins with the Works Projects Administration’s oral histories of former slaves in Arkansas, comparing those narratives to plantation tourism sites in Arkansas. Next, to illustrate how Jim Crow affects understanding of Arkansas in childhood, the study examines early twentieth century memoirs of childhood set in Jim Crow Arkansas as depicted by Richard Wright, Daisy Bates, and Maya Angelou. The third period examines three Little Rock Nine memoirs depicting the Central High School integration in Little Rock--imagining the child’s role in challenging the power of Jim Crow. The fourth and final period examines depictions or childhood in Arkansas since Jim Crow, and includes two queer coming of age narratives and one geopolitical narrative, produced by Daniel Black, E. Lynne Harris, and Henry Dumas respectively. The study found that, not only do competing images of Arkansas exist in all periods of literary production depicting Arkansas, but that marginal groups (black, queer, women, and children) have particularly distinctive perspectives about Arkansas. Such narratives depict Arkansas as both a place of trauma and of healing.