Horror films (Monarch film studies)

Literature & Fiction

Dillard, R. H. W.

Genre Fiction

Monarch Press

After Borges;: A sequence of new poems,

Louisiana State University Press

A writer dreams about writing a comic novel that describes an Irish expedition to the sun

The First Man on the Sun

United States

Louisiana State Univ Pr

Softcover, cover as shown, cover shows only minor edgewear, spine NOT creased &amp; back cover lightly rubbed &amp; with a faint crease. APPEARS NOT READ. 1983 'LSU' 1st ed. d.

The First Man on the Sun: A Novel

For R. H. W. Dillard, morbid gravity and exuberant absurdity are all of a piece. Omniphobia is seriously funny stuff, the reversible-wear fiction of a fiery imagination. These four stories and three novellas take place in a twilight zone where we have learned to fear the very things we used to trust, and their characters find themselves spilled onto the slippery slope of flux and change in the deadly fun house we call contemporary reality. The first of the collection's three sections, "Oh Love Love Love," opens with "The Bog," a novella both touching and uproarious. Cosmo Cotswaldo, Ph.D., undertakes to prove that nature can be entered into and controlled through the will. But when the chilly, humorless feminist Sara Band arrives on the scene, his attempts to manipulate this newly found power unleash the truth of his vulnerability to nature - in its tide of sexual forces, and ultimately in quicksand. The short story "Their Wedding Journey," which follows, is the ill-fated history of a marriage that circles (literally) around a wedding cake. The second section, "Way Down Yonder," contains a novella and two stories that address the distinct culture of the South while both satirizing and paying tribute to the body of literature that has attempted to define that culture. The third section, "Walking on Shallow Water," moves into darker and more dangerous territory. "The Death Eater" is the internal monologue of a diner chef who is obsessively repulsed by the killing and eating of animals. So hypnotic is the cadence of his thoughts that the reader almost overlooks the virulence of his actions. The final, title piece of the collection, "Omniphobia," is a novella with four ongoing narratives: an urban omniphobe, a "writer" who has not written in more than ten years; a political prisoner seeking escape, his mental state and movements painstakingly detailed; a punk-rock singer who wrenches his lyrics from his own experiences; and a catalog of phobias, from dread of flowers to omniphobia. It is an apocalyptic tale of fear and death and salvation that links back to the attempts at taking control and making sense described in "The Bog" - attempts that at last subside in a visionary surrender to a larger, vital whole.

Omniphobia: Stories

Selected Letters of Robert Penn Warren: The "Southern Review" Years, 1935-1942 (Southern Literary Studies)

Reference

LSU Press

From the epigraph that opens this collection to the last lines of the final poem, Just Here, Just Now is a sustained meditation on the presence of spirit in the world of daily change and variety―the just here, just now. R. H. W. Dillard asserts that “time is precious,” not only because it is fleeting but because its particulars are precious in their holiness. Dillard’s concern is with the presence of the universal in the particular, or as he puts it in “Loading a Shoebox,” with “this day, / Another day like every day / Like no other.”
Just Here, Just Now is as varied in its approaches to the spirit as it is in its poetic forms and subjects (which include serial murderers and the fall of the Soviet empire as well as personal memories of family, the death of a mother, and long letters to close friends). The collection moves from dark visions of love and loss in the first pages to meditations inspired by artists ranging from Henri Rousseau, Edgar Allan Poe, and Alfred Hitchcock to Thelonius Monk and Ornette Coleman.
Many poems in the book’s later pages deal directly with issues of meaning and belief, resolving the problems of the earlier poems through discoveries of love’s presence even in loss and the mutable moment. As “Winter Letter to Bluefield” concludes: “It is true we lose the things we hold dearest / But equally true that because we hold them dear / We find ourselves which we otherwise had lost, / Find ourselves whole―just now, just here.”

Just Here, Just Now: Poems

Poetry

Nothing remains intact for long: Men become women or change into screaming wolves; women appear in men's boxer shorts; suburban folk under the names of Herbert Hoover, Oscar Wilde, and the brothers Marx drift in and out of the novel; even that ingenious puppet-maker and puller of strings, Vladimir Nabokov, shows up briefly.In the midst of this bizarre world, Dillard stages an intricate detective story that will keep the reader on edge from its baffling beginning to its astonishing end. Under the shadowy lead of amateur sleuth Sir Hugh Fitz-Hyffen, evidence arises that links events stretching from the mountains of Romania to the ancient strongholds of Scotland to the tenements of Newark, New Jersey. An enormous diamond, a mask said to be that of Fu Manchu, and a series of brutal "Zodiac" killings are but three of the strands in the complex net of this thoroughly postmodern and highly entertaining mystery.

The Book of Changes (Voices of the South)

News of the Nile;: A book of poems, (Contemporary poetry series)

University of North Carolina Press

230 pp, Editor's preface, 7 chapters, conclusion, bibliography, index. Black cloth.

Understanding George Garrett (Understanding Contemporary American Literature)

History & Criticism

Univ of South Carolina Pr

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