A Collection From The Newspaper Writings Of Nathaniel Peabody Rogers Classic Reprint

Excerpt from A Collection From the Newspaper Writings of Nathaniel Peabody Rogers Yet I know myself too well not to know that I shall best discharge the duty assigned me by letting others, who were more constantly in his society, and more closely allied to him than myself, speak in my stead. Being more frequently in his presence, laboring under his eye in the same cause, and partaking largely of his spirit - seeing how manfully he here his cross while he lived and suffered, and how calmly, after all his labors and sufferings, he could die, - the language in which they speak of our common friend, is much more touching, because much more true to nature, than any that, without their aid, I could command. Much of what follows, therefore, is compiled from an obituary notice of Mr. Rogers, from the pen of John R. French, which appeared in The Herald of Freedom of Oct. 23, 1846, and from an article by Richard Hildreth, inserted in the same paper, from the Boston Chrono type, and a few other brief notices, transferred from other journals into the same number of the Herald. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from A Collection From the Newspaper Writings of Nathaniel Peabody Rogers In collecting, from the abundance of Mr. Rogers' newspaper writings, articles sufficient to fill the proposed "volume of four hundred pages," the constant difficulty has been to decide "What shall be omitted?" All the productions of his peerless pen, scattered with such generous profusion through various newspaper columns - all are worthy of more permanent and extensive circulation. Where all are so beautifully in earnest and so full of important thoughts, a selection is not to be made, and so a collection, only, has been attempted. The articles composing this volume have no peculiar excellency of style or sentiment over scores of others standing by their side in the columns from whence they were taken. The aim has been to take such as, from the subjects treated of, might interest the greater number of the friends of the lamented author, and such too as seemed fitted peculiarly for still further work in advancing the great interests to which their author gave the last years of his life with such complete devotion. No attempt has been made to establish a consistent character for our friend, for "consistency" was no part of his aim while living; constant, uninterrupted progress - Going Forward - the reader will notice; never anxious for the sentiment spoken yesterday, but always careful to give utterance to the honest convictions of the hour. Such was he in life - let such be his reputation now that he rests from his labors. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

In 1941 Thelonious Monk and Kenny Clarke copyrighted “Epistrophy,” one of the best-known compositions of the bebop era. The song’s title refers to a literary device—the repetition of a word or phrase at the end of successive clauses—that is echoed in the construction of the melody. Written two decades later, Amiri Baraka’s poem “Epistrophe” alludes slyly to Monk’s tune. Whether it is composers finding formal inspiration in verse or a poet invoking the sound of music, hearing across media is the source of innovation in black art. Epistrophies explores this fertile interface through case studies in jazz literature—both writings informed by music and the surprisingly large body of writing by jazz musicians themselves. From James Weldon Johnson’s vernacular transcriptions to Sun Ra’s liner note poems, from Henry Threadgill’s arresting song titles to Nathaniel Mackey’s “Song of the Andoumboulou,” there is an unending back-and-forth between music that hovers at the edge of language and writing that strives for the propulsive energy and melodic contours of music. At times this results in art that gravitates into multiple media. In Duke Ellington’s “social significance” suites, or in the striking parallels between Louis Armstrong’s inventiveness as a singer and trumpeter on the one hand and his idiosyncratic creativity as a letter writer and collagist on the other, one encounters an aesthetic that takes up both literature and music as components of a unique—and uniquely African American—sphere of art-making and performance.

The abolitionists of the mid-nineteenth century have long been painted in extremes--vilified as reckless zealots who provoked the catastrophic bloodletting of the Civil War, or praised as daring and courageous reformers who hastened the end of slavery. But Andrew Delbanco sees abolitionists in a different light, as the embodiment of a driving force in American history: the recurrent impulse of an adamant minority to rid the world of outrageous evil. Delbanco imparts to the reader a sense of what it meant to be a thoughtful citizen in nineteenth-century America, appalled by slavery yet aware of the fragility of the republic and the high cost of radical action. In this light, we can better understand why the fiery vision of the "abolitionist imagination" alarmed such contemporary witnesses as Herman Melville and Nathaniel Hawthorne even as they sympathized with the cause. The story of the abolitionists thus becomes both a stirring tale of moral fervor and a cautionary tale of ideological certitude. And it raises the question of when the demand for purifying action is cogent and honorable, and when it is fanatic and irresponsible. Delbanco's work is placed in conversation with responses from literary scholars and historians. These provocative essays bring the past into urgent dialogue with the present, dissecting the power and legacies of a determined movement to bring America's reality into conformity with American ideals.

"This book takes you through the collection gallery by gallery, illuminating the art and installations in each room"--From preface.