Thomas Alan Holmes – författare

An insightful and wide-ranging look at one of America’s most popular genres of music, Walking the Line: Country Music Lyricists and American Culture examines how country songwriters engage with their nation’s religion, literature, and politics. Country fans have long encountered the concept of walking the line, from Johnny Cash’s “I Walk the Line” to Waylon Jennings’s “Only Daddy That’ll Walk the Line.” Walking the line requires following strict codes, respecting territories, and, sometimes, recognizing that only the slightest boundary separates conflicting allegiances. However, even as the term acknowledges control, it suggests rebellion, the consideration of what lies on the other side of the line, and perhaps the desire to violate that code. For lyricists, the line presents a moment of expression, an opportunity to relate an idea, image, or emotion. These lines represent boundaries of their kind as well, but as the chapters in this volume indicate, some of the more successful country lyricists have tested and expanded the boundaries as they have challenged musical, social, and political conventions, often reevaluating what “country” means in country music. From Jimmie Rodgers’s redefinitions of democracy, to revisions of Southern Christianity by Hank Williams and Willie Nelson, to feminist retellings by Loretta Lynn and Dolly Parton to masculine reconstructions by Merle Haggard and Cindy Walker, to Steve Earle’s reworking of American ideologies, this collection examines how country lyricists walk the line. In weighing the influence of the lyricists’ accomplishments, the contributing authors walk the line in turn, exploring iconic country lyrics that have tested and expanded boundaries, challenged musical, social, and political conventions, and reevaluated what “country” means in country music.

The author of nine volumes of poetry and numerous other writings, the editor of several literary journals, the recipient of copious awards, including the James Still Award from the Fellowship of Southern Writers, and a longtime teacher and mentor, East Tennessee native Jeff Daniel Marion has come to be known as one of the most significant and beloved voices in Appalachian literature over the past four decades. The twenty-one pieces in this illuminating collection range from ex­aminations of Marion’s poetry to considerations of his teaching career and influence on students, writers, and artists throughout the region and beyond.Acclaimed poet, novelist, and historian Robert Morgan writes about how Marion affected his development as a writer and the key role Marion has played in bringing Appalachian literature into its own.Scholar Randall Wilhelm’s essay, meanwhile, expands our appreciation for Marion not only as a poet but as a visual artist, tracing the connection between his photography and po­etic imagery. Also included are essays by John Lang on the ways in which Marion’s poetry “gives voice to a spiritual vision of nature’s sacramental identity,” Gina Herring on how the poet’s father has served as his muse, and George Ella Lyon on the power of story in Marion’s picture book for children, Hello, Crow. Other features include an autobiographical essay by Marion himself, an interview conducted by coeditor Jesse Graves, and a bibliography and timeline that summarize Marion’s life and career.In the book’s introduction, Ernest Lee notes that in the poem “Boundaries,” from his first published collection, the young Marion “dedicated himself to his place, to the land and his heri­tage . . . welcoming whatever may come with a firm faith that ultimately his life as a poetic laborer will bring him to a true, sharp vision.” The eloquent contributions to this volume reveal just how fully that dedication has paid off.

The Fire that Breaks traces Gerard Manley Hopkins’s continuing and pervasive influence among writers of the twentieth and twenty-first centuries. Not only do the essays explore responses to Hopkins by individual writers—including, among others, Virginia Woolf, T. S. Eliot, Elizabeth Bishop, Seamus Heaney, Geoffrey Hill, and Charles Wright—but they also examine Hopkins’s substantial influence among Caribbean poets, Appalachian writers, and contemporary poets whose work lies at the intersection of ecopoetry and theology. Combining essays by the world’s leading Hopkins scholars with essays by scholars from diverse fields, the essays examine both known and unexpected affinities, and The Fire that Breaks is a persistent testimony to the lasting, continuing impact of Hopkins on poetry in English.

“The Southern Poetry Anthology, Volume III, second edition, edited with passion and precision, in collaboration with Texas Review Press, transcends the stereotypes surrounding Appalachia, revealing the true diversity and complexity of Appalachia’s poetic voices. Commitment to showcasing the rich and rewarding literary landscape reflects the evolving spirit of this beautiful region. This anthology serves as a testament to the resilience and beauty found in the works of Appalachian poets, painting a vivid picture of a culture that defies easy categorization. Through carefully selected poems, this edition weaves a tapestry that is as vibrant as it is complicated, offering readers a deeper understanding of Appalachia’s multifaceted identity: nuances, complexities, and sheer beauty that define Contemporary Appalachia. Embark on a literary journey that honors tradition while embracing the contemporary, as The Southern Poetry Anthology, Volume III, invites readers to explore the heart and soul of a region that defies stereotypes and resonates with authenticity.” - William Wright, Series Editor