Letters from a father to his son when his son left home. The letters cover all the issues that parents face with their children. The father gives his son instruction and teaching about all the important American values of life that are important. The reader, especially a parent, can easily get inspired and ideas on how they can still influence their child who has just left home.
From the initial mustering and training of his regiment at Camp Randall in Wisconsin, through the siege of Petersburg in Virginia, General Lee’s surrender at Appomattox, and the postwar Grand Review of the Armies parade in Washington, D.C., Taylor conveys in vivid detail his own experiences and emotions and shows himself a keen observer of all that is passing around him. While at war, he contracts measles, pneumonia, and malaria, and he writes about the hospitals, treatments, and sanitary conditions that he and his comrades endured during the war. Amidst the descriptions of soldiering, Taylor’s letters to Sarah are threaded with the concerns of a young married couple separated by war but still coping together with childrearing and financial matters. The letters show, too, Taylor’s transformation from a lonely and somewhat disgruntled infantryman to a thoughtful commentator on the greater ideals of the war.
This remarkable trove of letters, which had been left in the attic of Taylor’s former home in Cashton, Wisconsin, was discovered by local historian Kevin Alderson at a household auction. Recognizing them for the treasure they are, Alderson bought the letters and, aided by his wife Patsy, painstakingly transcribed the letters and researched Taylor’s story in Wisconsin and at historical sites of the Civil War. The Aldersons’ preface and notes are augmented by an introduction by Civil War historian Kathryn Shively Meier, and the book includes photographs, maps, and illustrations related to Guy Taylor’s life and letters.
With the first publication, in this edition, of all the surviving letters of Ernest Hemingway (1899-1961), readers will for the first time be able to follow the thoughts, ideas and actions of one of the great literary figures of the twentieth century in his own words. This first volume encompasses his youth, his experience in World War I and his arrival in Paris. The letters reveal a more complex person than Hemingway's tough guy public persona would suggest: devoted son, affectionate brother, infatuated lover, adoring husband, spirited friend and disciplined writer. Unguarded and never intended for publication, the letters record experiences that inspired his art, afford insight into his creative process and express his candid assessments of his own work and that of his contemporaries. The letters present immediate accounts of events and relationships that profoundly shaped his life and work. A detailed introduction, notes, chronology, illustrations and index are included.
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- A revealing self-portrait: In addition to his novels and short stories, John Cheever wrote a prodigious number of letters--sometimes thirty in a week. In The Letters of John Cheever, edited and annotated by his son Benjamin, Cheever reveals his most private thoughts to friends, famous writers, family, and lovers--all of whom he encouraged to discard what he wrote. "Saving letters is like trying to preserve a kiss," he said. As a result, these letters form a story that is even more candid than his journals, and as vivid and human as any he ever invented..- An intriguing literary icon: Cheever, a complex and contradictory man, "was an adulterer who wrote eloquently in praise of monogamy ... a bisexual who detested any sign of sexual ambiguity." Cheever was a stranger to those closest to him and presented to the world what he thought it wanted to see. These letters display the stark contrast between his ambitions and weaknesses, while tracing his evolution as an artist. .
Novelist, short-story writer, winner of the National Book Award and the Pulitzer Prize, Katherine Anne Porter is one of America's most respected and enduring literary figures. Upon her death in 1980 at the age of ninety, she left behind thousands of letters, from which Isabel Bayley, Porter's close friend for over twenty-five years and her literary archivist, selected the best. "The book was conceived as a whole," Bayley explains. "The letters will carry you, if you wish to read in sequence, from point to point during her major working years, 1930 to 1963. Little bridges form from idea to idea, from theme to theme." One of Porter's themes was an outrage born of unfair politics, and her words are as fresh today as when they were written: "What has discouraged me," she writes in 1957, "is simply the fact that from Mussolini on--Franco, Hitler, Tito, Peron, Batista, Trujillo, in a rapidly descending scale to Nasser, our government has without fail backed and supported, in completely criminal collusion, every foul and stinking political dictator in turn as they rise, with the hypocritical excuse that these are all 'anti-Communist.'" And in 1947 she asks the kind of question that underlies the finest of her writing: "Man cannot--oh why can he not? This to me is the riddle of the universe--face the truth of his own motives."The list of Porter's correspondents reads like a Who's Who of twentieth-century letters: Marianne Moore, Ezra Pound, Eleanor Clark, James Stern, Cleanth Brooks, Malcolm Cowley, Allen Tate, Caroline Gordon, Josephine Herbst, Hart Crane, Monroe Wheeler, Glenway Wescott, Eudora Welty, John Malcolm Brinnin. She tells Edith Sitwel she treasures her anthology of poetry as "something to take to Heaven with me if I ever get there; or maybe to bootleg into Hell to soften the penalty of having to read the Beat Generation." In a 1935 letter to Robert Penn Warren, one of her closest friends, she writes, "I have on hand, trying to finish it, a fairly long story which I call 'Pale Horse and Pale Rider' though I may find another title. What are your limits as to space for a short story?" For Porter her letters--to friends, family, publishers, editors, lovers--were vital links between the past and the present, a validation of time spent and an inspiration for the future: her twelve-page ship's journal, written in the form of a letter on a voyage from Mexico to Germany in 1931, became the basis for Ship of Fools, completed thirty years later. Katherine Anne Porter saw letters as continuity, a story that no longer belonged to the teller: ". . . mss. and notes and journals and letters arrived from Saratoga Springs the other day, and reading some of it over I find the past much more continuous, which I had begun to doubt. . . . Things just accumulated, and behold, it had become history . . . to be sorted and used as part of a story. I don't know that story any more than you do, especially not the end, and we will never see it, and I think it not very important whether we do or don't. . . . It doesn't belong to us anyway."
The first letters in Volume I are those of a seven-year-old child; the last were written by an uncommonly well-educated woman ready for a larger challenge than schoolteaching could offer her. The letters tell the story of her work with Amos Bronson Alcott and his experimental Temple School, of the early days of her friendship with Ralph Waldo Emerson, of the beginnings of her life as a writer, and of her important work as translator and critic of Goethe.-- "The New York Times Book Review"
From 1844 to 1847 Margaret Fuller served as review editor for Horace Greeley's New-York Herald Tribune--and herself reviewed books by Edgar Allan Poe and Herman Melville among others--and published Papers on Literature and Art, a volume of her own essays. She became known as something of a radical in literary circles, allying herself with George Sand, Emerson, and Goethe, and with the Young America poets, Evert A. Duyckinck, Cornelius Mathews, and William Gilmore Simms. In August 1846 Fuller left for Europe with her friends Marcus and Rebecca Spring. Her letters describe her meetings there with Thomas Carlyle, George Sand, Lamennais, and the aging Wordsworth, and with such political figures as the exiles Giuseppe Mazzini and Adam Mickiewicz. Often the letters expand upon topics addressed in her public writing.
Her life in these years, however, is dominated by her love for the German businessman James Nathan. The nearly fifty letters she wrote to him in 1845 and 1846 show her startling willingness to take a subservient role and her longing for emotional acceptance. Dreams of a lasting relationship with Nathan end in Europe with his betrothal to another woman, but by the spring of 1847 she had recovered from her deep disappointment and gone on to achieve great personal growth, both in her consciousness of herself as a woman and in political awareness. By the time this volume comes to a close she has met Giovanni Ossoli, a man who shares her ideals and offers her emotional security.-- "The New York Times Book Review"
The fifth volume of the collected letters of Margaret Fuller traces a period of great emotional turbulence, reflecting the personal struggles she faced in motherhood and the external strife of revolutionary Europe in 1848. The book opens as she takes up residence in Rome, where she continued to write essays for the New-York Daily Tribune and kept up a steady flow of commentary on the political situation for her family and friends.
Among Fuller's correspondents are Ralph Waldo Emerson, Giovanni Ossoli, William Wetmore Story, Giuseppe Mazzini, Horace Greeley, George William Curtis, and Elizabeth Barrett Browning. Many of the letters were written in Italian and are translated here for the first time. Since Fuller was more centrally involved in the Italian Risorgimento than any other American, they constitute an entirely new documentary source for historians of nineteenth-century Italy.-- "The New York Times Book Review"
Mari Sandoz came out of the Sandhills of Nebraska to write at least three enduring books: Old Jules, Cheyenne Autumn, and Crazy Horse, the Strange Man of the Oglalas. She was a tireless researcher, a true storyteller, an artist passionately dedicated to a place little known and a people largely misunderstood. Blasted by some critics, revered by others for her vivid detail and depth of feeling, Sandoz has achieved a secure place in American literature. Her letters, edited by Helen Winter Stauffer, reveal extraordinary courage and zest for life.
Included here are letters written by Sandoz over nearly forty years--from 1928, the year of her father's death and a critical one for her creative development, to 1966, the year of her own death. They allow memorable flimpses of the professional and private person: her struggles to learn her craft in spite of an unsupportive family and hard-won formal education, her experiences in gathering material, her relationships with editors and publishers, her work with fledgling writers, and her commitment to art and to various social concerns.