Browse A-Z Authors: Ta-Td

One of the early-twentieth century Southern intellectuals and artists of the early twentieth century known as the Agrarians, Allen Tate wrote poetry that was rooted strongly in that region's past--in the land, the people, and the traditions of the American South as well as in the forms and concerns of the classic poets. In "Ode to the Confederate Dead"-- generally recognized as his greatest poem--he delineates both the horror of the sight of rows of tombstones at a Confederate cemetery and the honor that such sacrifice embodies, resulting in "a masterpiece that could not be transcended" (William Pratt). Originally published in 1977 by Farrar, Straus and Giroux.

Poetry; 125 pages. "Essays ... read ... at Princeton University in the spring of 1941 under the auspices of the creative arts program." Contents: Preface / by Allen Tate -- Poetry, myth, and reality / by Philip Wheelwright -- The language of paradox / by Cleanth Brooks -- The interaction of words / by I.A. Richards -- The noble rider and the sound of words / by Wallace Stevens.

Poems; 58 pages. "This special edition ... is strictly limited to twelve copies numbered I-XII and printed solely for Benjamin Ethan Tate on Duca de Modena, an Italian handmade paper. No copies for sale. Designed and printed by Lew Ney with inkunabula type set by hand and the type has been distributed"

Poems; 144 pages.

Poems; 208 pages. Most of these poems appeared in the author's Selected poems, 1937, or The winter sea, 1944.

Poems; 224 pages.

Poems; 112 pages.

Poems; 196 pages.

Poems; [6] pages. Reprint of the 1950 ed. published by Cummington Press, Cummington, Mass.

Poems; [47] pages. Reprint of the 1944 edition.

Essays; 578 pages.

Essays; 640 pages. Includes critical essays on John Keats, Emily Dickinson, W.B. Yeats, Hart Crane, Thomas Hardy, Edwin Arlington Robinson, John Peale Bishop, Archibald MacLeish, Ezra Pound, Herbert Read, Edgar Allan Poe, and T.S. Eliot, among others.

Covers the wide sweep of the authors critical concerns: poetry, poets, fiction, the imagination, language, literature, & culture.

Essays; 180 pages. Contents: The man of letters in the modern world -- To whom is the poet responsible? -- The symbolic imagination : the mirrors of Dante -- The angelic imagination : Poe as God -- Our cousin, Mr. Poe -- Is literary criticism possible? -- Johnson on the metaphysical poets -- Longinus and the 'new criticism' -- A miscellany : Crane: the poet as hero. Ezra Pound and the Bollingen Prize. A note on critical 'autotelism'. Modern poets and conventions. The point of dying: Donne's 'Virtuous men.'

Essays; 102 pages. Reprint of the 1949 edition. Contents: The hovering fly. -- The new provincialism. -- Techniques of fiction. -- A reading of Keats. -- Stephen Spender's Poems. -- An exegesis on Dr. Swift. -- Longinus. -- A suppressed preface.

Essays; 352 pages.

Essays; 225 pages. Contents: [1.] Memoirs: A lost traveler's dream -- The fugitive, 1922-1925: a personal recollection twenty years after -- The gaze past, the glance present: forty years after The fugitive -- Reflections on the death of John Crowe Ransom -- Miss Toklas' American cake -- Memories of Sylvia Beach -- John Peale Bishop -- Homage to St-John Perse -- William Faulkner 1897-1962 -- Homage to T.S. Eliot -- [2.] Opinions: Robert Frost as metaphysical poet -- Introduction to White buildings by Hart Crane -- The poetry of Edgar Allan Poe -- A note on Paul Valéry -- Shadow: a parable and a polemic -- Faulkner's Sanctuary and the Southern myth -- Three commentaries: Poe, James, and Joyce -- Humanism and naturalism -- Translation or imitation? -- [3.] Epilogue: A sequence of stanzas: compiled and read to a group of friends on my seventy-fifth birthday.

Essays; 379 pages. Selected from the author's previously published works: The hovering fly, Reactionary essays on poetry and ideas, and Reason in madness.

Essays and criticism; 214 pages.

Essays; 240 pages. Contents: Essays -- Four American poets: Emily Dickinson, Hart Crane, Ezra Pound, John Peale Bishop -- A note on Donne -- A note on Elizabethan satire -- Three types of poetry -- Humanism and naturalism -- The profession of letters in the south -- Religion and the old south -- Reviews -- Edwin Arlington Robinson -- MacLeish's Conquistador -- T.S. Eliot -- Edna St. Vincent Millay -- E.E. Cummings.

Essays; 230 pages. Originally published in 1941.

In this vivid portrait of one of the South's ablest (and most enigmatic) commanders, Allen Tate portrays the warrior whom Lee would mourn as his right arm. Southern Classics Series.

Biography; 311 pages. Written early in Tate's career, this study of the Confederacy's fallen leader is highly critical of his flaws yet ultimately sympathetic to the Southern cause. Allen Tate (1899-1979), a major American poet and a leading New Critic, was the author of many works of criticism and poetry as well as a Civil War novel, The Fathers, and Stonewall Jackson.

The Fathers is the powerful novel by the poet and critic recognized as one of the great men of letters of our time. Old Major Buchan of Pleasant Hill, Fairfax County, Virginia, lived by a gentlemen's agreement to ignore what was base or rude, to live a life which was gentle and comfortable because it was formal. Into this life George Posey came dashing, as Henry Steele Commager observed, "to defy Major Buchan, marry Susan, betray Charles and Semmes, dazzle young Lacy, challenge and destroy the old order of things." The Fathers was published in 1938. It sold respectably in both the United States and England, perhaps because people expected it to be another Gone With the Wind, whereas it is in fact the novel Gone With the Wind ought to have been. Since its publication it has received very little attention, considering that it is one of the most remarkable novels of our time. Its occasion is a public one, the achievement and the destruction of Virginia's antebellum civilization. Within that occasion it discovers a terrible conflict between two fundamental and irreconcilable modes of existence, a conflict that has haunted American experience, but exists in some form at all times. The Fathers moves between the public and the private aspects of this conflict with an ease very unusual in American novels, and this ease is the most obvious illustration of the novel's remarkable unity of idea and form, for it is itself a manifestation of the novel's central idea, that "the belief widely held today, that men may live apart from the political order, that indeed the only humane and honorable satisfactions must be gained in spite of the public order, "is a fantasy." -- From the introduction of The Fathers

Fiction; short stories; 469 pages, second edition. "This book differs from other short story anthologies in that it is based on the assumption that fiction is an art closely allied to painting and that, as in painting, there are certain 'constants' or secrets of technique which not only appear in the works of all masters of the craft but which have been handed down from master to master throughout the ages."--Preface.

Offering all of the extant letters exchanged by two of the twentieth century's most distinguished literary figures, Cleanth Brooks and Allen Tate: Collected Letters, 1933-1976 vividly depicts the remarkable relationship, both professional and personal, between Brooks and Tate over the course of their lifelong friendship. An accomplished poet, critic, biographer, and teacher, Allen Tate had a powerful influence on the literary world of his era. Editor of the Fugitive and the Sewanee Review, Tate greatly affected the lives and careers of his fellow literati, including Cleanth Brooks. Esteemed co-editor of An Approach to Literature and Understanding Poetry, Brooks was one of the principal creators of the New Criticism. His Modern Poetry and the Tradition and The Well Wrought Urn, as well as his two-volume study of Faulkner, remain among the classics read by any serious student of literature. The correspondence between these two gentlemen-scholars, which began in the 1930s, extended over five decades and covered a vast amount of twentieth-century literary history. In the more than 250 letters collected here, the reader will encounter their shared concerns for and responses to the work of their numerous friends and many prominent writers, including T. S. Eliot, William Faulkner, and Robert Lowell. Their letters offer details about their own developing careers and also provide striking insight into the group dynamics of the Agrarians, the noteworthy community of southern writers who played so influential a role in the literature of modernism. Brooks once said that Tate treated him like a younger brother, and despite great differences between their personalities and characters, these two figures each felt deep brotherly affection for the other. Whether they contain warm invitations for the one to visit the other, genteel or honest commentaries on their families and friends, or descriptions of the vast array of social, professional, and even political activities each experienced, the letters of Brooks and Tate clearly reveal the personalities of both men and the powerful ties of their strong camaraderie. Invaluable to both students and teachers of literature, Cleanth Brooks and Allen Tate provides a substantial contribution to the study of twentieth-century American, and particularly southern, literary history.

Personal correspondence; 442 pages. Letters written from 1922-1967.

Personal correspondence; 395 pages. This remarkable correspondence between Andrew Lytle & Allen Tate covers nearly four decades & details the lives, friendship, & works of these two of the South's foremost literary figures & their influence upon the shape & direction of American literature.

The correspondence of John Peale Bishop and Allen Tate, extending from 1929 to the time of Bishop's death in 1944, embraces the period of the Great Depression and the coming of World War II. In that richly eventful period in the development of American literature, these two men of letters were continually exchanging news and comment about the activities, opinions, successes, and misadventures of poets, novelists, critics, publishers, and editors; about expatriate Americans in Europe and the quickening intellectual life of New York; and about the Agrarian movement and what was later to be called the Southern Renascence. Archibald MacLeish, Ernest Hemingway, Robert Penn Warren, John Crowe Ransom, Katherine Anne Porter, Maxwell Perkins, Hart Crane, Malcolm Cowley, Scott Fitzgerald -- all are subjects of comment, both personal and artistic. The respect and affection of both writers for Edmund Wilson survived their vehement political differences with him, and their exchange of literary criticism, advice, and encouragement with Wilson continued unabated. The letters record a warm and steady friendship, as well as a literary relationship in which Tate -- though the younger man -- is clearly the mentor. The freedom with which Tate and Bishop discuss their work in progress, and the care and candor with which they comment on one another's poems and stories, offer the reader of this carefully edited correspondence revealing glimpses of the creative process and the reality of the American "republic of letters" in their time.

The correspondence of Jacques and Raissa Maritain, the French philosopher and his poet wife who, during WWII, fled to the US where they remained for 20 years with the poet/critic Allen Tate and his first wife, the novelist Caroline Gordon, who were associated with the Fugitive and Agrarian movements

Biography; 48 pages. University of Minnesota pamphlets on American writers, no. 39.

Biography; 172 pages. Twayne's United States authors series, no. 124.

Biography; 231 pages.

Despite his celebrity and his fame, a series of literary feuds and the huge volume of sources have, until now, precluded a satisfying biography of Allen Tate. Anyone interested in the literature and history of the American South, or in modern letters, will be fascinated by his life. Poetry readers recognize Tate, whom T. S. Eliot once called the best poet writing in America, as the author of some of the twentieth century's most powerful modernist verse. Others know him as a founder of The Fugitive, the first significant poetry journal to emerge from the South. Tate joined William Faulkner and others in launching what came to be known as the Southern Literary Renaissance. In 1930, he became a leader of the Southern Agrarian movement, perhaps America's final potent critique of industrial capitalism. By 1938, Tate had departed politics and written The Fathers, a critically acclaimed novel about the dissolution of the antebellum South. He went on to earn almost every honor available to an American poet. His fatherly mentoring of younger poets, from Robert Penn Warren to Robert Lowell, and of southern novelists--including his first wife, Caroline Gordon--elicited as much rebellion as it did loyalty. Long-awaited and based on the author's unprecedented access to Tate's personal papers and surviving relatives, Orphan of the South brings Tate to 1938. It explores his attempt, first through politics and then through art, to reconcile his fierce talent and ambition with the painful history of his family and of the South. Tate was subjected to, and also perpetuated, fictional interpretations of his ancestry. He alternately abandoned and championed Southern culture. Viewing himself as an orphan from a region where family history is identity, he developed a curious blend of spiritual loneliness and ideological assuredness. His greatest challenge was transforming his troubled genealogy into a meaningful statement about himself and Southern culture as a whole. It was this problem that consumed Tate for the first half of his life, the years recorded here. This portrait of a man who both made and endured American literary history depicts the South through the story of one of its treasured, ambivalent, and sometimes wayward sons. Readers will gain a fertile understanding of the Southern upbringing, education, and literary battles that produced the brilliant poet who was Allen Tate.

This study reconsiders and reassesses the work of Allen Tate as a poet whose themes and expression place him among the most studied and canonical Modernists of the last century. Allen Tate (1899-1979), a former Poet Laureate of the US, although generally regarded during his lifetime as one of the twentieth century's preeminent literary critics and men of letters, has been largely overlooked by critics in the years since his death. John V. Glass III rectifies this by tracing the development of Tate's thought and verse from his early years as a student at Vanderbilt in the 1920s through his final terza-rima sequence completed in the 1950s. Tate's poetry in the intervening years charts the course of an American modernist who brings to bear on the problems of his age the unique perspective of a southerner, one who refuses either to accept sentimentality or to repudiate the past in his search for a solution to the dissociation of sensibility. Beginning with his early devotion to Art itself, followed by his effort to replace the primacy of Art with that of History, Tate's poetry dramatizes his gradual movement--one that is first public and intellectual, and then private and spiritual--toward acceptance of the central spiritual tradition of Western Civilization. By focusing on the relationship between Tate himself and the speakers in his poems, and on the relationship between those speakers and readers who like the poet, John V. Glass III helps the reader find themselves drawn into universally apprehensible experience. The course of Tate's own thought, frequently presented as being at a remove from common experience, proves not merely accessible, but also a model for those who, like Tate himself, seek to understand the fractured nature of Modernity and to discover an alternative to it in a traditional conception of Being.

Essay collection; 355 pages.

Two groups which originated in Nashville: Tennessee, in the early 1920's had a strong influence on American letters. Known as the "Fugitives" and "Agrarian," they included, among others, John Crowe Ransom, Allen Tate, Robert Penn Warren, Donald Davidson and Merrill Moore. This study of their contributions is, as R.W.B. Lewis has written, "a searching, supple, and most of the time brilliantly precise account of thee writing, ideas, and attitudes of several of this century's most interesting men of letters. The book achieves a kind of finality in the handling of its subject." Mr. Stewart concentrates on the ideas, styles, themes, and widespread influence of the two groups, rather than on historical data. He illuminates the literature produced within this particular historical and geographical context. Originally published in 1965. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Focusing on the vexed friendship between Hart Crane and Allen Tate, this book examines twentieth-century American poetry's progress toward institutional sanction and professional organization, a process in which sexual identities, poetic traditions, and literary occupations were in question and at stake. Langdon Hammer combines biography and formalist analysis to argue that American modernism was a Janus-faced phenomenon, at once emancipatory and elitist, which simultaneously attacked traditional cultural authority and reconstructed it in new forms. Hammer shows how Crane and Tate, working in relation to each other and to T. S. Eliot, created for themselves the competing roles of "genius" and "poet-critic." Crane embraced the self-authorizing powers of the individual talent at the cost of standing outside the emerging consensus of high modernist literary culture, an aesthetic isolation which converged with his social isolation as a gay man. Tate, turning against Crane, linked the modernist defense of tradition to an embattled heterosexual masculinity, while he adapted Eliot's stance to a career sustained by criticism and teaching. Ending his book with a discussion of Robert Lowell's career, Hammer maintains that Lowell's "confessional" poetry recapitulates the conflict enacted by Crane and Tate. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Biography; 217 pages.

Lectures and symposium; 102 pages. Contents: The new Faustus: the Southern renascence and the Joycean aesthetic / Walter Sullivan -- The view form the Regency-Hyatt: Southern social issues and the outer world / C. Hugh Holman -- Second thoughts on the old gray mare: the continuing relevance of Southern literary issues / Louis D. Rubin, Jr. -- The state of Southern fiction / edited by George Core -- A crossing of the ways: an afterword / George Core.

Criticism; 190 pages. Contents: "Gentlemen, My Secret Is Damnation": Allen Tate's Search for Unity -- The Key to the Puzzle: The Literary Career of Caroline Gordon -- Man the Wayfarer, Man the Stoic: The Art of Walker Percy.

"Malvasi analyzes the distinct approaches Ransom, Tate, and Davidson took on such issues as rural poverty, religion, race relations, and the effects of the New Deal on the twentieth-century South. The influence that their poetry and views on literature had on their social and political thought is convincingly illustrated, as is each man's views on the role of the writer in the modern world." "Tate maintained that the South preserved many of the values that the Agrarians had long advocated. By the time of his conversion to Catholicism in 1950, however, he believed that history had to be subordinate to Christian dogma and revelation. Davidson held an almost mystical view of the South; he found tradition inadequate to comprehend what he saw as the unity of the living, the dead, and the unborn. Ransom abandoned Agrarianism by the late 1930s to focus on his poetry and the Republic of Letters. His ultimate acceptance of an industrial-capitalist modernity separated him in a fundamental way from both Davidson and Tate." "The conflicting images of southern history and tradition presented in The Unregenerate South serve to explain the disparities among Ransom, Tate, and Davidson in the spheres of literature, society, religion, and race."--BOOK JACKET.

Biography; 251 pages. This well-informed study examines the complexly faceted & often troubled friendship of two poets united by the bonds of imagination & mutual needs.

Housed at Princeton University. Summary: "Consists of manuscripts, documents, and letters to and from Tate, a member of the Fugitive and Southern Agrarian movements."

The Civil War has long been described as a war pitting "brother against brother." The divided family is an enduring metaphor for the divided nation, but it also accurately reflects the reality of America's bloodiest war. Connecting the metaphor to the real experiences of families whose households were split by conflicting opinions about the war, Amy Murrell Taylor provides a social and cultural history of the divided family in Civil War America. In hundreds of border state households, brothers--and sisters--really did fight one another, while fathers and sons argued over secession and husbands and wives struggled with opposing national loyalties. Even enslaved men and women found themselves divided over how to respond to the war. Taylor studies letters, diaries, newspapers, and government documents to understand how families coped with the unprecedented intrusion of war into their private lives. Family divisions inflamed the national crisis while simultaneously embodying it on a small scale--something noticed by writers of popular fiction and political rhetoric, who drew explicit connections between the ordeal of divided families and that of the nation. Weaving together an analysis of this popular imagery with the experiences of real families, Taylor demonstrates how the effects of the Civil War went far beyond the battlefield to penetrate many facets of everyday life.

The Civil War was just days old when the first enslaved men, women, and children began fleeing their plantations to seek refuge inside the lines of the Union army as it moved deep into the heart of the Confederacy. In the years that followed, hundreds of thousands more followed in a mass exodus from slavery that would destroy the system once and for all. Drawing on an extraordinary survey of slave refugee camps throughout the country, Embattled Freedom reveals as never before the everyday experiences of these refugees from slavery as they made their way through the vast landscape of army-supervised camps that emerged during the war. Amy Murrell Taylor vividly reconstructs the human world of wartime emancipation, taking readers inside military-issued tents and makeshift towns, through commissary warehouses and active combat, and into the realities of individuals and families struggling to survive physically as well as spiritually. Narrating their journeys in and out of the confines of the camps, Taylor shows in often gripping detail how the most basic necessities of life were elemental to a former slave's quest for freedom and full citizenship. The stories of individuals--storekeepers, a laundress, and a minister among them--anchor this ambitious and wide-ranging history and demonstrate with new clarity how contingent the slaves' pursuit of freedom was on the rhythms and culture of military life. Taylor brings new insight into the enormous risks taken by formerly enslaved people to find freedom in the midst of the nation's most destructive war.

Designed to be either the primary anthology or textbook for the course, this best-selling title covers the Civil War's entire chronological span with a series of documents and essays.

October 11, 1864. The Civil War rages on in Kentucky, where Union and Confederate loyalties have turned neighbors into enemies and once-proud soldiers into drifters, thieves, and outlaws. Stephen Gano Burbridge, radical Republican and military commander of the district of Kentucky, has declared his own war on this new class of marauding guerrillas, and his weekly executions at Louisville's public commons draw both crowds and widespread criticism. In this time of fear and division, a Kentucky journalist created a legend: Sue Mundy, female guerrilla, a "she-devil" and "tigress" who was leading her band of outlaws across the state in an orgy of greed and bloodshed. Though the "Sue Mundy" of the papers was created as an affront to embarrass Union authorities, the man behind the woman -- twenty-year-old Marcellus Jerome Clarke -- was later brought to account for "her" crimes. Historians have pieced together clues about this orphan from southern Kentucky whose idealism and later disillusionment led him to his fate, but Richard Taylor's work of imagination makes this history flesh -- an exciting story of the Civil War told from the perspective of one of its most enigmatic figures. Sue Mundy opens in 1861, when fifteen-year-old Jerome Clark, called "Jarom," leaves everyone he loves -- his aunt, his adopted family, his sweetheart -- to follow his older cousin into the Confederate infantry. There, confronted by the hardships of what he slowly understands is a losing fight, Jarom's romanticized notions of adventure and heroism are crushed under the burdens of hunger, sleepless nights, and mindless atrocities. Captured by Union forces and imprisoned in Camp Morton, Jarom makes a daring escape, crossing the Ohio River under cover of darkness and finding refuge and refreshed patriotic zeal first in Adam R. Johnson's Tenth Kentucky Calvary, then among General John Hunt Morgan's infamous brigade. Morgan's shocking death in 1864 proves a bad omen for the Confederate cause, as members of his group of raiders scatter -- some to rejoin organized forces, others, like Jarom, to opt for another, less civilized sort of warfare. Displaced and desperate for revenge, Jarom and his band of Confederate deserters wreak havoc in Kentucky: a rampage of senseless murder and thievery in an uncertain quest to inflict punishment on Union sympathizers. Long-locked and clean-shaven, Jarom is mistakenly labeled female by the media -- but Sue Mundy is about more than the transformation of a man into a woman, and then a legend. Ironically, Sue Mundy becomes the persona by which Jarom's darkest self is revealed, and perhaps redeemed.

"GIRTY is the story of Simon Girty, probably the man most hated by Americans during the Revolutionary War. An acquaintance of Simon Kenton and Daniel Boone, he sided with the Indians and British and fought against the Americans on the frontier throughout the Ohio Valley. One of his most infamous victories was at the Battle of Blue Licks, considered by many to be the last battle of the Revolutionary War, where many Kentucky frontiersmen were killed, including the son of Daniel Boone." --Kentucky Fandom. First published in 1990.

When former Kentucky Poet Laureate Richard Taylor took a job at Kentucky State University in 1975, he purchased a fixer-upper -- in need of a roof, a paint job, city water, and central heating -- that became known to his friends as "Taylor's Folly." The historic Giltner-Holt House, which was built in 1859 and sits close by the Elkhorn Creek a few miles outside of Frankfort, became the poet's entrance into the area's history and culture, and the Elkhorn became a source of inspiration for his writing. Driven by topophilia (love of place), Taylor focuses on the eight-mile stretch of the creek from the Forks of the Elkhorn to Knight's Bridge to provide a glimpse into the economic, social, and cultural transformation of Kentucky from wilderness to its current landscape. He explores both the natural history of the region and the formation of the Forks community. Taylor recounts the Elkhorn Valley's inhabitants from the earliest surveyors and settlers to artist Paul Sawyier, who memorably documented the creek in watercolors, oils, and pastels. Interspersed with photographs and illustrations -- contemporary and historic -- and intermixed with short vignettes about historical figures of the region, Elkhorn: Evolution of a Kentucky Landscape delivers a history that is by turns a vibrant and meditative personal response to the creek and its many wonders. Flowing across four counties in central Kentucky, Elkhorn Creek is the second largest tributary of the Kentucky River. Known for its beauty and recreational opportunities, Elkhorn Creek has become an increasingly popular location for canoeing, kayaking, and camping and is one of the state's best-known streams for smallmouth bass, bluegills, and crawfish. Like Walden Pond for Henry David Thoreau, the Elkhorn has been a touchstone for Taylor. A beautiful blend of creative storytelling and historical exploration of one of the state's beloved waterways, Elkhorn celebrates a gem in the heart of central Kentucky.

Non-fiction; 109 pages; illustrations; maps; genealogical table.

Map of Palisades region of Kentucky river on lining paper. Photography by Adam Jones; foreword by Barry Bingham, Jr.; text by Richard Taylor.

Here are three tragedies from early Kentucky history: the defeat of a small army of Kentuckians by Indians at Blue Licks in 1782, the murder of a slave by two of Thomas Jefferson's nephews in western Kentucky in 1807, and the bizarre Beauchamp-Sharp murder in Frankfort in 1825. Taylor mixes history with good storytelling and a look at how human shortcomings sometimes lead to ruin. First published in 1991.

More than any other colony, Virginia looked to the west for its future. After the French and Indian War, the Royal Proclamation of 1754 declared that officers and soldiers would be paid with parcels of western land, vaguely extending about eighty miles in all directions from Lexington. By 1768 most of the area had been explored by the Long Hunters, including Daniel and Squire Boone, James Knox, Hasker Mansker, and the Skagg Brothers. These brave, enterprising men battled both with nature and with the Indians, bringing their families to settle this rough frontier. Virginia's Western War traces the little-known period of colonial history.

Poems; 72 pages. "An edition of five hundred, three hundred numbered paperback copies and two hundred copies bound in boards, numbered at the press and signed by the author, has been printed."

Poems; 19 pages. Richard Taylor's newest collection of poems displays the fine ear and eye that have enchanted his readers for many years.

Poems; 61 unnumbered pages.

Poems; 28 pages.

Poems; 54 pages. "This book was handset in Garamond type, printed on a hand-fed C & P and a Vandercook, then handbound. 450 copies were printed on Mohawk Superfine paper and a special edition of 46 copies was printed on Zerkall paper. The wood engravings are by Wesley Bates. Design, composition, printing and binding by Grace Engelman, Joanne Price, Leslie Shane, Carolyn Whitesel and Gray Zeitz at Larkspur Press."--Colophon.

Poems; 65 pages.

Poems; 61 pages. "This book was handset in Garamond type, printed on a hand-fed C & P, then handbound. 550 copies were printed on Mohawk Superfine paper. A special edition of 42 copies was printed on Somerset Book paper and includes a portfolio of the engravings printed on Gampi Torinoko paper. The wood engravings are by Wesley Bates and printed from the wood. Design, composition, printing and binding by Leslie Shane, Carolyn Whitesel and Gray Zeitz at Larkspur Press."--Colophon.

Poems; 84 pages. Cover painting by the author.

Poems; 91 pages. "This book was handset in Garamond type, printed on a hand-fed C & P, then handbound. 550 copies were printed on Mohawk Superfine paper. A special edition of 42 copies was printed on Zerkall Book paper. The wood engravings were cut by Wesley Bates and printed from wood. Design, composition and printing by Deborah Kessler, Leslie Shane and Gray Zeitz at Larkspur Press."--Colophon.

Interactive multimedia; CD-ROM. This interactive multimedia CD-ROM was created to accompany an exhibition of thirty-one copies of Richard Taylor's Stone eye. The copies were printed by Larkspur Press, and each copy was hand bound by members of the Guild of Book Workers. The accompanying booklet features an abbreviated catalog of the exhibition. The accompanying stone is etched with the image of an eye.

Poems; 76 pages. "This book was handset in Eric Gill's Joanna type and printed on a hand-fed C & P. 600 copies were printed on Mohawk Superfine paper and cloth bound ... The wood engravings are by Wesley Bates. Design, composition and printing by Deborah Kessler, Leslie Shane and Gray Zeitz at Larkspur Press."--Colophon.

"The publication of Abraham Lincoln of Kentucky is a project of the Kentucky Arts Council made possible through an American Masterpieces grant from the National Endowment for the Arts."--Title page verso.
"This book was handset in Garamond type designed by Morris Benton for ATF after the work of Jean Jannon, a master printer in seventeenth century Paris. 500 copies were printed on Mohawk Superfine paper on a hand-fed C & P and handbound. The engravings were printed from the wood. Design, composition, printing and binding by Leslie Shane and Gray Zeitz at Larkspur Press." --from paperback edition.

First published in 1999. In this sequel to Conversations with Kentucky Writers, L. Elisabeth Beattie brings together in-depth interviews with sixteen of the state's premiere wordsmiths. This new volume offers the perspectives of poets, journalists, and scholars as they discuss their views on creativity, the teaching of writing, and the importance of Kentucky in their work. They talk frankly about how and why they do what they do. The writers speak for themselves, and their thoughts come alive on the page. Beattie's interviews reveal the allegiances and alliances among Kentucky writers that have shaped literary trends by bringing together people with shared interests, values, subjects, and styles. The interviewees include authors who are captivated in other writers and in what they have to say about the process and craft of writing; educators who are interested in Kentucky writers and what their work reveals about the nature of creativity; and historians who are concerned with Kentucky's literary and cultural heritage. The interviews reveal patterns in Kentucky literature from mid-century to the millennium, as authors talk about how their sense of place has changed over the decades and reveal the ways in which the roots of Kentucky writing have produced a literary flowering at the century's end. Includes: Sallie Bingham, Joy Bale Boone, Thomas D. Clark, John Egerton, Sarah Gorham, Lynwood Montell, Maureen Morehead, John Ed Pearce, Ameilia Blossom Pegram, Karen Robards, Jeffrey Skinner, Frederick Smock, Frank Steele, Martha Bennett Stiles, Richard Taylor, and Michael Williams.

A history of Kentucky's poets laureate since 1926. Contains works by J.T. Cotton Noe, Edward Gay Hill, Louise Scott Phillips, Edwin Carlisle Litsey, Jesse Hilton Stuart, Lowell Allen Williams, Lillian D. Chaffin, Senator Tom Mobley, Agnes Todd Saffell O'Rear, Clarence "Soc" Henry Clay, Lee Pennington, Paul Salyers, Dale Faughn, Jim Wayne Miller, Henry E. Pilkenton, James H. Patton, James Still, Joy Bale Boone, Richard Lawrence Taylor, James Baker Hall and Joe Survant.

"Soon or a little too late everything you never knew you always wanted turns up here at The Breakers" - from the book In her new novel At The Breakers, Mary Ann Taylor-Hall, author of the widely praised and beloved Come and Go, Molly Snow, presents Jo Sinclair, a longtime single mother of four children. Fleeing an abusive relationship after a shocking attack, Jo finds herself in Sea Cove, New Jersey, in front of The Breakers, a salty old hotel in the process of renovation. Impulsively, she negotiates a job painting the guest rooms and settles in with her youngest child, thirteen-year-old Nick. As each room is transformed under brush and roller, Jo finds a way to renovate herself, reclaiming a promising life derailed by pregnancy and a forced marriage at age fourteen. Jo's new life at the hotel features a memorable mix of locals and guests, among them Iris Zephyr, the hotel's ninety-two-year-old permanent boarder; Charlie, a noble mixed-breed dog; Marco, owner of a nearby gas station/liquor store, who may become Jo's next mistake; and enigmatic Wendy, her streetwise eighteen-year-old daughter, who signs on as housekeeper. Irrepressible Victor Mangold, Jo's former professor and a well-known poet some twenty years her senior, invites himself to Thanksgiving dinner and into her life, his passion awakening Jo's yearning for art and love. At The Breakers is a deeply felt and beautifully written novel about forgiveness and reconciliation. In Jo's words, she is "trying to find the right way to live" as a long-suffering woman who is put through the fire and emerges with a chance at a full, rich life for herself and her children, if only she has the faith to take it.

Mary Ann Taylor-Hall's highly acclaimed first novel, Come and Go, Molly Snow, introduces us to Carrie Marie Mullins, a gifted Kentucky bluegrass fiddler and singer in the Hawktown Road band. After moving to Lexington to develop her talents, Carrie becomes infatuated with the band's leader, Cap Dunlap. Her romantic distraction prevents Carrie from saving her five-year-old daughter, Molly, when she careens down the driveway and is killed by a truck. Overwhelmed with grief, Carrie breaks down. Cap finds Carrie in this state of distress and takes her to Ona and Ruth Barkley, two elderly sisters living in an old farmhouse. It is on the sisters' farm that Carrie is able to slowly come to terms with her heartache and guilt over Molly's death. As she picks up the pieces of her shattered life, Carrie draws on the two women's friendship, her inner strength, and finally, the healing power of music.

Five novelistic short stories by the acclaimed author of Come and Go, Molly Snow. Stories featuring women protagonists of all ages. In the title story an overprotected woman has a one-night fling with a traveling salesman, while Banana Boats is the reaction of a woman to watching her husband age.

Fiction, short story; 26 pages. "This book was handset in Garamond type, printed on a hand-fed C & P, then handbound. 500 copies were printed on Mohawk Superfine paper and a special edition of 50 copies was printed on dampened Biblio paper. Design, composition, printing and binding by Leslie Shane, Carolyn Whitesel and Gray Zeitz at Larkspur Press."--Colophon.

The first comprehensive poetry collection by award-winning Kentucky writer and poet Mary Ann Taylor-Hall. Selected and arranged by the author, the poems in Out of Nowhere unfold as a luminous narrative of the poet's life, moving through seasons of experience--from the first stirrings of childhood consciousness to present-day meditations on loss and grief--with candor, clarity, and startling tenderness. She opens to the reader the intimate landscape of her life in rural Kentucky, which she connects directly to the immensities and astonishing mysteries of the universe that come smashing through even our most ordinary days. Published in 2017 by Old Cove Press.

Poems; 39 pages. Poems and mounted color photographs are bound in red cloth covered boards with author and title on panel on spine. "Printed from handset DeRoos type, the work of the noted Dutch type designer, S H DeRoos, on Biblio paper during the winter months of 2013. The photographs were printed by Artale Graphics. Jerry Kelly did the title page lettering. Priscilla Spitler bound it all up & made it a book"--Colophon. In an edition of 60.

Poems; 56 pages.

With an introduction by Wade Hall, Morris Grubbs has sifted through vintage classics, little-known gems, and stunning debuts to assemble this collection of forty stories by popular and critically acclaimed writers. In subtle and profound ways they challenge and overturn accepted stereotypes about the land their authors call home, whether by birth or by choice. Kentucky writers have produced some of the finest short stories published in the last fifty years, much of which focuses on the tension between the comforts of community and the siren-like lure of the outside world. Arranged chronologically, from Robert Penn Warren's "Blackberry Winter" to Crystal E. Wilkinson's "Humming Back Yesterday," these stories are linked by their juxtaposition of departures and returns, the familiar and the unknown, home and beyond. Contributors: Robert Penn Warren, Caroline Gordon, James Still, Jane Mayhall, Elizabeth Hardwick, Dean Cadle, Jesse Stuart, Billy C. Clark, Janice Holt Giles, A.B. Guthrie, Jr., Hollis Summers, Ed McClanahan, Sallie Bingham, Robert Hazel, Jack Cady, Jim Wayne Miller, David Madden, Gayl Jones, Jane Stuart, Gurney Norman, Walter Tevis, Bobbie Ann Mason, Joe Ashby Porter, Leon V. Driskell, Mary Ann Taylor-Hall, Richard Cortez Day, Sena Jeter Naslund, Pat Carr, Wendell Berry, James Baker Hall, Lisa Koger, Barbara Kingsolver, Normandi Ellis, Guy Davenport, Kim Edwards, Chris Holbrook, Paul Griner, Chris Offutt, Dwight Allen, Crystal E. Wilkinson. Edited by Morris Allen Grubbs; with an introduction by Wade Hall and an afterword by Charles E. May.

This book deals with a subject of the gravest importance---the destruction of the Earth. Kentucky's mountains and the creatures who live there are being devastated by the coal-mining technique known as mountaintop removal. Features authors: Lucy Flood, Charles Bracelen Flood, Davis McCombs, George Ella Lyon, Stephen George, Anne Shelby, Artie Ann Bates, Bob Sloan, Betty Wood, Mary Ann Taylor-Hall, Chris Holbrook, Silas House, Erik Reece, Jeff Worley, Steven R. Cope, Maurice Manning, Loyal Jones, Pauline Stacy, Whitney Baker, Gwyn Hyman Rubio, Tony Crunk, Bobbie Ann Mason, Wendell Berry, Daymon Morgan, Richard Taylor, Leatha Kendrick, Susan Starr Richards, Amanda Moore, George Brosi, Jerry Hardt, Gurney Norman, Christina E. Lovin, Kristin Johannsen, Ed McClanahan, and Charlie Hughes.

"Carolyn Young Hisel was a well-known Kentucky artist who passed away in 2017. Her art consisted of an incredibly diverse range of paintings, collages, pastels and drawings that spanned a career of more than fifty years. As her work matured, it moved from vibrant colorful abstractions of friends, landscapes and neighborhoods to become more and more about our human relationship with the spiritual realm. In Carolyn's own words: 'I ask the questions shared by every struggling human soul: questions about virtue and evil; guilt and innocence; the meaning of suffering and loss; redemption; revelation; love and transcendent joy; hope and despair.'" --cyhisel.com. Contributors: Carolyn Young Hisel; Alan Hisel; Mary Ann Taylor-Hall; Jennifer L Roberts; Susan Starr Richards

Named persons: Gurney Norman; Bobbie Ann Mason; Ed McClanahan; Wendell Berry; Mary Ann Taylor-Hall. 240 pages; portraits.