Larry Brown: A Firefighter Finds His Voice

2016 ◽  
Author(s):  
Joe Samuel Starnes
Keyword(s):  
World War Ii ◽  
William Faulkner ◽  
World War ◽  
Dirty Work ◽  
White Trash ◽  
The Family ◽  
Yoknapatawpha County ◽  
World War Ii Veteran ◽  
Larry Brown ◽  
Father And Son

This chapter discusses the life and work of Larry Brown. Born in 1951, Brown grew up in rural Lafayette County, Mississippi, the land on which William Faulkner based his fictional Yoknapatawpha County. His father, a World War II veteran haunted by memories of combat, worked as a sharecropper, the original occupation shared by Faulkner's Snopes family, notorious for burning barns and other “white trash” transgressions. When Brown was three, his family moved to Memphis, Tennessee. The family returned to Mississippi when Brown was in his early teens, and his father died a few years later. Working-class characters stand at the center of Brown's fiction, and in works dating from the beginning of his career, they frequently speak in the first-person. This is evident in his first collection, Facing the Music (1988), and in his first novel, Dirty Work (1989). Brown's other works include Joe (1991), Father and Son (1996), Fay (2000), The Rabbit Factory (2003), and the posthumously published A Miracle of Catfish (2007).

The Formation of a Budding Man Alone: The God Boy (Murray Reece, 1976)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
New Zealand ◽  
Religious Beliefs ◽  
Coming Of Age ◽  
World War ◽  
Value System ◽  
Feature Films ◽  
The Family

This chapter analyses the earliest of the New Zealand coming-of-age feature films, an adaptation of Ian Cross’s novel The God Boy, to demonstrate how it addresses the destructive impact on a child of the puritanical value-system that had dominated Pākehā (white) society through much of the twentieth century, being particularly strong during the interwar years, and the decade immediately following World War II. The discussion explores how dysfunction within the family and repressive religious beliefs eventuate in pressures that cause Jimmy, the protagonist, to act out transgressively, and then to turn inwards to seek refuge in the form of self-containment that makes him a prototype of the Man Alone figure that is ubiquitous in New Zealand fiction.

“I WRITE LETTER, AND AROUND GOES BATTLE”: CULTURAL GAPS IN WARTIME

2019 ◽  
pp. 67-72
Author(s):  
Anna Kimerling
Keyword(s):  
World War Ii ◽  
Cultural Models ◽  
Family Care ◽  
World War ◽  
Family Control ◽  
Individual Level ◽  
The Family ◽  
Care Practices ◽  
Flow Of Information ◽  
Cultural Gaps

The article is devoted to the features of the wartime culture. The source was a unique collection of letters from the fronts of World War II, written by political instructor Arkady Georgievich Endaltsev. The war led to the breakdown of familiar cultural models. It is important to understand how, adaptation to new standards occurred on an individual level. For A. Endaltsev, family care practices were a way to bridge cultural gaps. They are reflected in the letters. There, framed by ideologically verified stamps, one can find financial assistance to the family, control over the education of the daughter, the need for a continuous flow of information about the life of the wife and children.

Neotypification of Terminalia paniculata (Combretaceae)

Phytotaxa ◽  
2017 ◽  
Vol 326 (1) ◽  
pp. 88
Author(s):  
TAPAS CHAKRABARTY ◽  
VENKATACHALAM SAMPATH KUMAR
Keyword(s):  
World War Ii ◽  
Indian Subcontinent ◽  
Original Material ◽  
World War ◽  
Botanical Survey ◽  
Peninsular India ◽  
The Family ◽  
Central National Herbarium ◽  
Terminalia Paniculata ◽  
Southern Regional

While preparing a revised treatment of the family Combretaceae for “Flora of India Project,” our attention was drawn on Terminalia paniculata Roth (1821: 383) which was described on the basis of a specimen collected by Benjamin Heyne from peninsular India. The species is well documented in Indian Floras (e.g. Wight & Arnott 1834, Beddome 1869, Brandis 1874, Clarke 1878, Cooke 1903, Talbot 1911, Gamble 1919 and Chandrabose 1983). Gangopadhyay & Chakrabarty (1997) in their revision of the family Combretaceae of Indian subcontinent mentioned that the type of this species is not extant. The type material of T. paniculata housed in the Berlin herbarium (B; herbaria acronyms follow Thiers 2017) was presumably destroyed during the World War II. In the Kew herbarium (K), there is a collection by Benjamin Heyne (K000786096: image!) identified and listed in Wallich’s Numerical List as T. triopteris B.Heyne ex Wallich (1831: no. 3980B). This material contains two twigs, one flowering and the other fruiting and this appears to be a specimen not seen by Roth (1821) since he clearly mentioned in the protologue: “Fructum non vidi.” Thus, as per the provisions of the Code (Mc Neill et al., 2012), as there is no other extant original material (Article 9.7) traceable, a neotype (Articles 9.11 and 9.13) is designated here for T. paniculata from Peninsular India, where Benjamin Heyne made botanical explorations (Burkill, 1965). The neotype specimen is housed in the Central National Herbarium, Botanical Survey of India, Howrah, India (CAL) and its duplicate in the Madras Herbarium, Botanical Survey of India, Southern Regional Centre, Coimbatore, India (MH).

scholarly journals And up she went – The moral vertical in Wings

Nordlit ◽  
2017 ◽  
Author(s):  
Åsne Ø. Høgetveit
Keyword(s):  
World War Ii ◽  
Critical Discussion ◽  
Interesting Case ◽  
Soviet Society ◽  
World War ◽  
Memory Hierarchies ◽  
Russian Culture ◽  
Spatial Understanding ◽  
Memory Culture ◽  
World War Ii Veteran

This article is dedicated to the film Wings (1966) directed by the Soviet director Larisa Shepitko. With its story of a World War II veteran, Nadezhda Stepanovna Petrukhina, Wings makes for an interesting case when looking at women’s and veteran’s status in the Soviet society of the 1960’s, and morality and memory culture more generally speaking. But as Nadezhda Stepanovna is a former fighter pilot who continuously return to the sky in her daydreams, Wings is also an excellent case for a critical discussion of the meaning of the airspace. Aviation and the airspace hold certain connotations is Russian culture (not necessarily excluding other cultures) that open up for a different kind of reading of this film, in particular because of the intersections between gender, space and memory. Hierarchies are often presented trough a metaphor of verticality in Russian culture. By examining the different notions of verticality, both physical and metaphorical, in Wings, I not only argue that this film can be read in a new way, but also bring new perspectives on the established theory of women’s position in Russian culture as morally superior to men. This again can be linked back to the spatial understanding of Russia, as the term Motherland in Russia particularly strongly makes a connection between femininity, the mother, and space, the land.

Leslie Crombie. 10 June 1923 — 3 August 1999

2001 ◽  
Vol 47 ◽  
pp. 125-140 ◽  
Author(s):  
Gerald Pattenden
Keyword(s):  
World War Ii ◽  
Grammar School ◽  
Legal Practice ◽  
World War ◽  
Isle Of Wight ◽  
School Certificate ◽  
The Family ◽  
Part Time ◽  
The City ◽  
Three Sisters

Leslie Crombie was born in York on 10 June 1923, the second eldest, and only boy, of Walter Crombie and Gladys (née Clarkson). On his father's side his great-grandfather had kept a tobacconist shop in York and his grandfather, George, had founded a prosperous legal practice in the City of York. On his mother's side, Leslie's great–grandfather originated from London and settled in York after helping to build the York Railway Station. Leslie's father qualified as a solicitor and practised law in his grandfather George's office. However, he disliked the profession and, after his marriage and the death of his father, Walter passed over the practice to his brother Norman and took the lease of a hotel in the Isle of Wight. Unfortunately, the hotel did not prosper and was given up after a few years, and the family, which included Leslie's three sisters, Ivy, June and Molly, moved to Portsmouth. Although Leslie's father had a small allowance from his brother Norman and the legal practice in York, and he had various small intermittent incomes from teaching, the family was desperately poor during the 1930s. Leslie received little encouragement from his parents, but he passed the 11+ examination and entered Portsmouth Northern Grammar School in 1934, where he was awarded a very respectable School Certificate when he was 16 years old. However, it was now 1939 and World War II was about to start, and his school was evacuated to Winchester. With poor living conditions and little facilities for study, the young Leslie was determined to take a job and study part-time. He was appointed in 1940 as an assistant in the analytical laboratory of Timothy Whites and Taylor at their head office in Portsmouth under the supervision of Ron Gillham, who greatly influenced his further career; he was paid 13 shillings and 6 pence (in decimal terms, 67½pence) per week. In the evenings, Leslie studied at Portsmouth Municipal College for a London University Intermediate BSc. Alas, after a heavy bombing raid in January 1941, Timothy Whites and Taylor's laboratories were removed from the map, along with a great deal of the centre of Portsmouth—but fortunately not the MunicipalCollege.

Family and Childhood

2010 ◽  
Author(s):  
Margaret L. King
Keyword(s):  
World War Ii ◽  
World War ◽  
Cambridge University ◽  
Theoretical Perspectives ◽  
Childhood And Youth ◽  
The Social ◽  
The Family ◽  
History Of ◽  
The 1960S ◽  
Annales School

Scholars largely neglected the history of the family until after World War II, when they began to employ theoretical perspectives imported from the social sciences. In the 1960s, two principal figures triggered its study: Philippe Ariès, associated with the French Annales school, and Peter Laslett, cofounder at Cambridge University, England, of the Cambridge Group for the History of Population and Social Structure. Since that period, studies have proliferated on the history of family and household in Europe and its subregions and on the related topics of childhood and youth.

“Our City, Our Hearths, Our Families“: Local Loyalties and Private Life in Soviet World War II Propaganda

Slavic Review ◽  
2000 ◽  
Vol 59 (4) ◽  
pp. 825-847 ◽  
Author(s):  
Lisa A. Kirschenbaum
Keyword(s):  
World War Ii ◽  
The State ◽  
Private Life ◽  
Point Of View ◽  
Narrow Sense ◽  
World War ◽  
Party Discipline ◽  
Counter Narrative ◽  
National Symbols ◽  
The Family

During World War II, images of mothers constituted one of the most striking—and lasting—additions to Soviet propaganda. The appearance of “Mother Russia” has been understood as a manifestation of the Soviet state's wartime renunciation of appeals to Marxism-Leninism and its embrace of nationalism. Yet “Mother Russia” (rodina-mat', more literally, the “motherland mother“) was an ambiguous national figure. The word rodina, from the verb rodit', to give birth, can mean birthplace both in the narrow sense of hometown and in the broad sense of “motherland,” and it suggests the centrality of the private and the local in wartime conceptions of public duty. Mothers functioned in Soviet propaganda both as national symbols and as the constantly reworked and reimagined nexus between home and nation, between love for the family and devotion to the state. From this point of view, the new prominence of mothers in wartime propaganda can be understood as part of what Jeffrey Brooks has identified as the “counter-narrative” of individual initiative and private motives, as opposed to party discipline, that dominated the centrally controlled press's coverage of the first years of the war.

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