Modernism has been called “a reaction to the carnage and disillusionment of the First World War and a search for a new mode of art that would rescue civilization from its state of crisis after the war” (Lewis, 109) Hemingway attempts this rescue by re-thinking aspects of the novel that were taken for granted in earlier periods, just as the conventions of modern life were taken for granted pre-WWI. Furthermore, his work tries to rectify the dissonance between a pre and post-war self through the exploration of social conventions relating to violence, trauma and masculinity.

For some years now the need for the emphasis of moral and spiritual values in our public schools has been recognized by the Kentucky Department of Education. The department has given encouragement to numerous research projects and summer workshops held for the purpose of finding an answer to the problem of emphasizing moral and spiritual values in public education. The concern for this need has informally become known as the “Kentucky Movement.” This study was not undertaken with the thought of introducing new programs in our high schools. The teaching of moral and spiritual values should be done through the curriculum and the school activities as they now exist. If the English teacher is sensitive to life-values and endorses the excellent position of the Second Workshop on Moral and Spiritual Values in Education held at the University of Kentucky in 1950 on his subject, he will have a wonderful time working out lesson-plans slanted toward bringing out those values. It is up to the teacher to work out, according to his own teaching field, the procedure he will use. Basic help can be received in workshops and other study groups where evaluations of success and failure in like situations take place, but still, the teacher must depend on his own individual ability.

In Herman Melville’s Moby Dick Captain Peleg declares, “Ahab has his humanities.” Although many facets of Ahab’s character have been explored, his humanities have not been discussed at length. The Oxford English Dictionary defines “humanities” as “human attributes; traits or touches of human nature or feeling; points that concern man, or appeal to the human sensibilities.” This definition is vague; the specific qualities which should be included must be enumerated, since the humanities of one culture may not be the same as those of another. Ahab has been associated with two cultures – The Western, Christian tradition and the Near Eastern, Zoroastrian tradition. Ahab has been a Quaker associated with Calvinists, groups which hold different views of human actions. Further, Ahab has been in an authoritative position for many years. Out of these five strands of his background, the old man’s humanities must be drawn. First, a workable definition of “humanities” can be developed through an exploration of positive attributes in Zoroastrianism and Christianity in general; qualities of particular merit in Quakerism and Calvinism can also be described. Of special interest is Father Mapple’s sermon listing a series of “woes” and “delights.” In addition, certain qualities necessary in a good leader must be examined. Second, to get some perspective on Ahab’s character on the final voyage, one must attempt to piece together the old man’s life prior to the final voyage to see what, if any, “humanities” were present. This discussion will offer some thoughts on the relations of Ahab’s name to his stance toward God, men and nature. Third, Ahab’s humanities during the final voyage may be seen in his relationships with three significant characters: Starbuck, Pip and Fedallah. In each discussion four points are noteworthy: (1) the similarities and differences in the individual’s and Ahab’s backgrounds, (2) the motivation for Ahab’s actions toward the individual, (3) the actions of Ahab, and (4) the results of the relationship upon Ahab and the other individual. Fourth, Ahab’s humanistic feelings are often expressed when he is alone. Nature acts upon the old man, and he responds. Thus the sea and sky offer him a chance to express some of his humane ideas. This study, then, attempts to answer the following questions: Did Ahab at any time possess attributes which might be termed “humanities?” Did Ahab’s humanities partly derive from specific strands of his background? Did Ahab retain all, some, or none of his humanities until his death?

A comparative analysis of Leslie Marmon Silko’s Ceremony and Toni Morrison’s Song of Solomon, with a focus on individual as well as collective memory work in historically marginalized indigenous and African-American communities, respectively. This represents a critical study of how the novels invoke progressive and redemptive models of remembering, as well as foreground the role of spiritual guides in the transformative process from trauma towards healing.

Roadside deals with themes of self-discovery, transcendence, and the search for camaraderie in modern America. Many of the stories take place on or adjacent to the road: that eternal path of transience and transformation. Whether metaphorically or literally on the "roadside," many of the characters contained within are marginalized in their own lives and communities. It is through their grasping and searching for greater meaning in their lives that they come to gain understanding of their places in the world.

Neil Gaiman’s use of a hyper-masculine American culture in American Gods sheds light upon the multiple issues surrounding a misogynistic society in which women are treated as sexual objects and punished for their independence as sexual beings. Gaiman’s efforts at highlighting these issues are discreet and hidden under layers of patriarchal expectations, but through the use of his protagonist, Shadow, Gaiman is able to provide an alternative to the society he represents. While he successfully illustrates this more “ideal” society, his endeavors fall short and are almost imperceptible throughout his novel. Gaiman’s work in American Gods, while lacking in its overall presence, brings attention to the issues within a hyper-masculine society and it is through this unique, feminist approach that Gaiman is able to present his strong argument for change.

Throughout his work, Wilbur maintains a thematic and aesthetic fascination with kinetic energy, especially insofar as this graceful movement often seems to defy the world’s gravity. Wilbur’s energetic verse and imagery invites readers to delve into the philosophical and spiritual meditations of his poems, as well as to notice the physical world anew. The kinetic aspects of Wilbur’s subject matter, wordplay, wit, and figurative language elucidate the frequent tempering of gravity with levity within his work. Many critics have studied Wilbur’s philosophy, Christianity, metaphors, wordplay, and approach to language as found in his poetry, but this essay attempts to use a framework of kinetic energy potential energy, gravity, and weight to understand these various aspects of his work.

The prophecies in George R. R. Martin’s A Song of Ice and Fire series are unclear and often appear to have multiple possible fulfillments, or none at all. In addition, some of these prophesied events occur before they are introduced, which further contributes to the lack of clarity in interpreting them. My thesis will discuss the methods by which Martin offers readers clues to a prophecy’s fulfillment and argue that Martin’s use of these imprecise prophecies challenges high fantasy tropes about prophecies.

In both Outer Dark and Child of God, McCarthy does a masterful job of blending the elements of Appalachian Gothic to present a novel that is darkly suspenseful and grimly thought-provoking. Outer Dark focuses on the complex incestuous relationship between a brother and sister and their interaction with others. The novel follows the two on a journey through the wilderness where they must cope with the unknown qualities of that wilderness, as well as the guilt stemming from their own behaviors. In Child of God, McCarthy explores the grotesque nature of a life lived in isolation and poverty in the mountains. This novel focuses more on an individual descent into the gruesome depths that illustrate the main character’s depravity. In these two novels McCarthy examines the darker side of life in Appalachia, and forces readers to question the purpose and meaning for the characters’ lives and actions.

Jesse Graves was born and raised in Sharps Chapel, Tennessee, where his ancestors settled in the 1780s. His poems and essays have appeared in Prairie Schooner, Southern Quarterly, Connecticut Review, and other journals, anthologies, and collections. He teaches at East Tennessee State University, where he is an Assistant Professor in the Department of Literature and Language. "I admire the assurance, the formal authority of Graves’ craft."—Robert Morgan / https://dc.etsu.edu/etsu_books/1096/thumbnail.jpg