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Archive for the tag “Mercer University Press”

Terry Kay — Book Events

Celebrate with Terry Kay at two upcoming book signings of his new novel,

The King Who Made Paper Flowers

 

In 2006, Terry Kay was inducted into the Georgia Writer’s Hall of Fame in ceremonies conducted at the University of Georgia, honoring the accomplishments of a man who began as an errand boy for a weekly newspaper. The journey of his career covers more than fifty years of the most dynamic changes in the state’s history. The award-winning novelist was born in Hart County, Georgia, the eleventh of twelve children, on February 20, 1938. He was reared on a farm, graduating from West Georgia Junior College in 1957 and then LaGrange College in 1959. Kay began his career in journalism in 1959 at the Decatur-DeKalb News, a weekly newspaper in Decatur, Georgia, and later worked for The Atlanta Journal as a sportswriter, and for eight years, as one of America’s leading film-theater critics. In 1989, he left a corporate job in public relations to pursue his passion for writing.

Kay published his first novel in 1976, The Year the Lights Came On, a story inspired by his memory of the coming of electricity to his rural community. He went on to publish After Eli 1981, and in 1984 Dark Thirty, an examination of justice vs. vengeance set in Appalachia. These three publications established Terry Kay as a versatile writer able to navigate through genres with authority. His signature novel To Dance With the White Dog, positioned Kay’s works as Southern classics, winning him the Outstanding Author of the Year award in 1991, two nominations for the American Booksellers’ Book of the Year (ABBY) award, and a Hallmark Hall of Fame movie starring Hume Cronyn and Jessica Tandy. The production earned the highest television rating of the 1993 season, with more than 33 million viewers.

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Since 2007, Mercer University Press has proudly published the writings of Terry Kay. The Book of Marie, Bogmeadow’s Wish, The Greats of Cuttercane, The Seventh Mirror, Song of the Vagabond Bird, and his new novel, The King Who Made Paper Flowers.

Kay’s works have been translated into numerous foreign countries, including Japan, Korea, Taiwan, China, Italy, Spain, Portugal, France, Sweden, Germany and Holland. His work has appeared in numerous publications and anthologies, including Reader’s Digest, Atlanta Magazine, A Confederacy of Crime, The Chattahoochee Review, and the Georgia Review. He scripted an episode of In the Heat of the Night and won a Southern Emmy for his original teleplay, Run Down the Rabbit.

Kay’s many honors and awards include induction into the Georgia Writers Hall of Fame in 2006, the Governor’s Award in the Humanities (GA) in 2009, the Georgia Writers Association’s Lifetime Achievement Award in 2011, and The Terry Kay Prize for Fiction, an annual award presented by the Atlanta Writers Club.

9780881465662

The King Who Made Paper Flowers
MEET THE AUTHOR

Sunday, April 17th — 3:00 pm – 4:30 pm
Friends of the Library—Café au Libris
Athens-Clarke County Library
Appleton Auditorium
2025 Baxter Street
Athens, GA 30606
706-613-3650

Monday, April 18th — 7:15 pm – 9:00 pm
Georgia Center for the Book’s Festival of Writers
Decatur Library, Main Branch
215 Sycamore Street
Decatur, Georgia 30030
404-370-3070

* adapted from http://www.terrykay.com

Women’s History

Mercer University Press Celebrates Women’s History Month

Women’s History Month first gained a national stage in 1981 when Congress passed Pub. L. 97-28, both authorizing and requesting that the President proclaim the week beginning March 7, 1982 as Women’s History Week. Throughout the next five years, Congress continued to pass joint resolutions designating a week in March as Women’s History Week. The National Women’s History Project petitioned for the month of March to be dedicated to Women’s History. Congress passed Pub. L. 100-9 which designated the month of March 1987 as Women’s History Month. Between 1988 and 1994, Congress passed additional resolutions requesting and authorizing the President to dedicate March of each year as Women’s History Month. Since 1995, Presidents Clinton, Bush, and Obama have issued a series of annual proclamations designating the month of March as Women’s History Month.

adapted from the government website: http://womenshistorymonth.gov/about.html

Check out the fascinating women highlighted in the books listed below. Click links for more information on each book and author. All titles in stock.

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Suffer and Grow Strong: The Life of Ella Gertrude Clanton Thomas, 1834-1907
By Carolyn Newton Curry

97808814652

Fresh Water from Old Wells: A Memoir
By Cindy Henry McMahon

97808814645
The Second Bud: Deserting the City for a Farm Winery
By Martha M. Ezzard

97808814627

A Titanic Love Story: Ida and Isidor Straus
By author: June Hall McCash

97808814623

A Light on Peachtree: A History of the Atlanta Woman’s Club
By author: Anne B. Jones

97808655474

Life in Dixie during the War
By Mary A. H. Gay; edited by J. H. Segars

97808655487

The Power of Woman: The Life and Writings of Sarah Moore Grimke (1792-1873)
By Pamela Durso
97808814641

The Life and Letters of Emily Chubbuck Judson: Volume 1; Biographies and Timelines
(7 volumes in all)
Edited by George H. Tooze

Announcement of Winners — 2015 Mercer University Press Book Awards

Mercer University Press is pleased to announce with a resounding round of applause the winners of the 26th Annual Mercer University Press Book Awards. Each 2015 winner receives a $500 advance and book contract for publication during the Spring/Summer 2017 season.

Ashley Mace Havird was named winner of The Ferrol Sams Award for Fiction for her manuscript entitled Lightningstruck.

 
Past recipients of this award include: Mary Anna Bryan, Marly Youmans, Raymond L. Atkins, Stephen Roth, and Dale Cramer.

 
The judge’s comments—“Lightningstruck is a compelling, wonderfully textured (rich sense of place and people) story of eleven-year-old Etta’s twelfth year in rural South Carolina.”

 
Katy Giebenhain was named winner of The Adrienne Bond Award for Poetry for her collection of poems entitled The Patron Saint of T1D.

 
Past recipients of this award include: Lesley Dauer, Seaborn Jones, Kelly Whiddon, Megan Sexton, and Philip Lee Williams.

 
The judge’s comments—”Really fantastic poems, start to finish. Spectacular images, accessible but complex and well-organized—beautiful through and through.”

 
Christopher Martin was named winner of The Will D. Campbell Award for Creative Nonfiction for his collection of essays entitled This Gladdening Light: Reflections on Fatherhood and Faith.

 
Past recipients of this award include: William E. Merritt, Kathy A. Bradley and Joseph Bathanti.

 
The judge’s comments—”Martin writes honestly with sincere insight that is both confessional and inspiring. His insight into the ‘ordinary’ events of life will resonate with any reader.”

 

The Ferrol Sams Award for Fiction is given to the best manuscript that speaks to the human condition in a Southern context. This category includes both novels and short stories.

 
The Adrienne Bond Award for Poetry is given to the best manuscript that exemplifies the poetic language and vision of the author.

 
The Will D. Campbell Award for Creative Nonfiction is given to the best manuscript that speaks to the human condition in a Southern context. This category includes memoir, natural history, essays, and other genres of nonfiction.

 
Mercer University Press, established in 1979, has published more than 1400 books in the genres of Southern Studies, History, Civil War History, African American Studies, Appalachian Studies, Biography & Memoir, Fiction, Poetry, Religion, Biblical Studies, and Philosophy. Publishing authors from across the United States and abroad, Mercer University Press focuses on topics related to the culture of the South. The reputation of the Press significantly enhances the academic environment of Mercer University and carries the name of Mercer and Macon, Georgia throughout the world.

Announcement of Winners — 2014 Mercer University Press Book Awards

Mercer University Press is pleased to announce the winners of the 2014 Annual Book Awards. Each 2014 award comes with a $500 advance and a book contract for publication in Spring 2016.

Mary Anna Bryan has been awarded the 2014 Ferrol Sams Award for Fiction for her submission entitled Cardinal Hill.

Past recipients of this award include Marly Youmans, Raymond L. AtkinsStephen Roth, and Dale Cramer.

Judge’s comment: “The writer of this novel displays a talent for description, dialogue, and interesting plot twists. Margaret [the main character] is no saint, but her stubborn determination to uncover the truth of her family history turns Cardinal Hill into an interesting detective story. Margaret is smart and imaginative, with a wry sense of humor that holds our interest. Cardinal Hill is a novel that speaks authentically to a specific time and place in the South.”

Lesley Dauer has been awarded the 2014 Adrienne Bond Award for Poetry for her submission entitled Carnival Life.

Past recipients of this award include Seaborn Jones, Kelly Whiddon, Megan Sexton, and Philip Lee Williams.

Judge’s comment: This is a beautifully written collection of poems.”

William E. Merritt has been awarded the 2014 Will D. Campbell Award for Creative Nonfiction for his submission entitled Crackers: A Memoir.

Past recipients of this award include Kathy A. Bradley and Joseph Bathanti.

 Judge’s comment: “One of the elements that strikes me as being quintessentially Southern is the author’s ability to describe the most poignant, even heartbreaking, moments with wry humor, that singular trait that has enabled the South and Southerners to endure.”

 The Ferrol Sams Award for Fiction is given to the best manuscript that speaks to the human condition in a Southern context. This category includes both novels and short stories.

The Adrienne Bond Award for Poetry is given to the best manuscript that exemplifies the poetic language and vision of the author.

The Will D. Campbell Award for Creative Nonfiction is given to the best manuscript that speaks to the human condition in a Southern context. This category includes memoir, natural history, essays, and other genres of nonfiction.

Mercer University Press, established in 1979, has published more than 1400 books in the genres of Southern Studies, History, Civil War History, African American Studies, Appalachian Studies, Biography & Memoir, Fiction, Poetry, Religion, Biblical Studies, and Philosophy. Publishing authors from across the United States and abroad, Mercer University Press focuses on topics related to the culture of the South. The reputation of the Press significantly enhances the academic environment of Mercer University and carries the name of Mercer and Macon, Georgia throughout the world.

MUP Rocks the Cover of Publishers Weekly

Mercer University Press rocks the four-page cover of today’s issue of Publishers Weekly in celebration of 35 years of publishing excellence.

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Rembrandt as Christian Artist

Biblical RembrandtToday, on Rembrandt’s birthday (1606), John I Durham joins us for a word about Rembrandt’s faith and it’s role in his art. Find out more in John’s Biblical Rembrandt: Human Painter in a Landscape of Faith.

 

Rembrandt Van Rijn: A Believer?

That Rembrandt was a believer is an undoubted fact of his life; that he was not a practicing member of any Church is also a fact of his life. Rembrandt grew up in a Protestant (Dutch Reformed) home in Leiden, a town famous for science and, in some circles, for its hospitality (in 1608 and much of the decade following) to some of the Pilgrim fathers. His father Harmen’s upbringing was Roman Catholic, but by the time of his marriage to Rembrandt’s mother Cornelia, Harmen had joined the Dutch Reformed Church. Cornelia (Neeltje) was brought up Roman Catholic, but by the time she and Harmen were married (on October 8, 1589) in the Dutch Reform Pieterskerk in Leiden, she too had obviously left Catholicism for Protestantism.

In 1631, in his twenty-fifth year, Rembrandt painted an elderly woman reading a great heavy Bible—though he may have intended to depict a biblical figure (Anna from Luke 2:36–38 has often been named.) I believe he was thinking of his mother, whom he had no doubt often seen with the Bible open on her lap. The painting was done with obvious affection; Neeltje would have been around sixty-three when the work was created.

Though we have no firm record of Rembrandt’s birth, the date customarily listed is July 15, 1606, from a reference in a history of Leiden by the city’s mayor, J. J. Orlers. By that date, his parents had been married for around twenty-seven years; Rembrandt was the ninth of ten children born to Harmen and Neeltje. Three of the ten died at birth, two before Rembrandt’s arrival, the third when he was three years old.

That Rembrandt was drawn to the Bible as a source for his art is an inevitable result of his family life, his instruction at Leiden’s Calvinist “Latin School” from the ages of seven to fourteen, and above all from his guidance at the hand and eye of Pieter Lastman, the great “history painter” in Amsterdam. Yet if no piece of this evidence was available to us, we would be forced to remember Rembrandt as very much the painter of the Bible by the predominance in his drawings and in his etchings and in his paintings of biblical persons, biblical themes, and especially of biblical moments. No serious study of the life and work of Rembrandt known to me fails to take note of this fact, not least because so large a percentage of the legacy he has left to us, around one-third by general estimate, is devoted to the Bible. “An old Bible” is listed among Rembrandt’s possession in the bankruptcy inventory of 1656, and following his death on October 5, 1669, the only book among his possessions “in the inner chamber” was a Bible. That he lived with the Bible right through his life cannot be contested; thus what can be said about the Bible in Rembrandt’s belief?

To put it in simplest terms, Rembrandt’s belief, his faith, came not from any connection with a church, and not from any appropriation of a doctrinal system. He was friendly with a considerable array of religious persons, both humble and grand: Protestants, of course, even Mennonite Protestants, but also Catholic and Jewish figures. He was commissioned to paint their portraits, to illustrate some of their publications, and to create works decorating their homes and meeting places (but never their places of worship: Protestants and Jews objected to images in their places of worship, and Roman Catholics felt that Rembrandt’s works were not religious enough, and even sometimes sacrilegious).

Rembrandt’s believing was therefore a biblical believing. The Bible was for him a real book more than it was a holy book. Its heroes and heroines were real people, people who made real mistakes and were sorry for it, not saints above temptation and reproach and criticism. To model Jesus, he picked a Jew; to represent Judas, he depicted a painfully regretful traitor who had torn out his hair in distress; to help us know religious hypocrisy and pomp, he painted Temple officials far more interested in the coins Judas had thrown down than in a man in deep grief.

Rembrandt’s Tobit is both unjustly irritated at his good wife and fumblingly blind. Rembrandt’s Balaam is so caught up in his own self-defensive fury that he overlooks the fact that he is having a conversation with a she-ass. Rembrandt’s prodigal son is caught up in the healing hug of a father whose love is rooted in caring instead of in self-justification and judgment. Rembrandt’s Mary at the Tomb on Easter morning is so human that, in spite of all she had witnessed, she assumes the risen Christ must be a gardener.

I think Rembrandt began his biblical works as works of illustration, attempts to picture what the words of the Bible’s text suggested. Before the passing of many years, however, Rembrandt began interpreting the words of that text, giving us an exegesis of what he felt the words may mean. And in his maturity as a biblical artist, Rembrandt created what must be called works of confession, moving statements of his own belief, in particular the famous “Hundred Guilder Print,” an astonishing summary of the entire nineteenth chapter of Matthew’s Gospel. It is a sermon on an etching plate that presents Jesus healing theological, psychological, and physical sickness and dealing at the same time with legalism, the pride of self-importance, and the reality of indifference. And not even the “rich young man” or the proverbial camel of Matthew 19 are left out!

I have been looking at Rembrandt looking me into looking for many years now; yet as I keep on looking, I find myself seeing more and more, because Rembrandt, it turns out, teaches the Bible without prejudice, and gives us human genius mixed with divine love.

 

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Happy Fourth of July from MUP!

It’s time for fireworks and grilling out and nothing goes better with the festivities like in-depth academic examinations of literature, American history, Christianity, Kierkegaard, African-American history, politics, and theology. The mental stimulation just makes the cole slaw taste sooooo much better.

 

Enter discount code MUPNEWS when you order at the Press’s website and receive a 20% discount plus free USPS Media Mail shipping on your entire order!

National Country Music Day!

RedneckLiberationIn addition to celebrating the birth of our nation today, we also celebrate the contributions of country music to American culture. Far more than bemoaning the loss of a trailer, a wife, and a dog, country music provides voice to an entire worldview, both secular and religious. Read more about the explicit and implicit theologies of country music in David Fillingim’s Redneck Liberation: Country Music as Theology. It makes a great read beneath the glow of fireworks.

 

 

Related Titles

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An Excerpt from the Award-Winning Novel Camp Redemption

Camp_Redemption-COVER.inddAs promised, here’s an excerpt from Camp Redemption by Georgia’s two-time Author of the Year, Raymond Atkins. Raymond will also be speaking at the Catoosa Citizens for Literacy’s Sixth Annual, “One Book, One Community” event at the Benton Place Learning Center in Ringgold, Georgia on June 26 at 6:30 p.m.

Excerpt
After supper, they all adjourned to Nathanael, and over the course of the next three hours, they took over the former camp counselors’ duties—sweeping, mopping, washing, and dusting everything within reach. While Early and Ivey turned the mattresses and began to make up the beds, Jesús announced that he was going outside to wash the exterior glass.

“That boy is a hard worker,” Early noted as he snapped a sheet and tucked a corner.

“He’s that,” Ivey agreed, but she seemed preoccupied as she smoothed the wrinkles. She worried with the linen until it suited her.
“What’s on your mind?”

“I can’t get Brother Rickey out of my head. I swear I don’t know how I could have been so wrong about someone. And the deacons! I’ve known some of them since they were just boys. How could I not see their ugliness?”
“Screw Brother Rickey and the deacons he rode in on.” “Early!”

“Sorry, Ivey. That one just slipped out. I don’t know what
to tell you about the gang down at the church, except to say that it’s real easy to pretend to love thy neighbor when you’re in an all-white congregation. Same way it’s easy to say you love the poor when everyone around you has a little money. Talk is cheap until someone like Avis Shropshire comes along and calls your bluff. When he did that, Brother Rickey and the deacons had to put their Bibles where their mouths were, and they couldn’t do it.”

“Well, it makes me sad.”

“I know it does. But don’t worry about it anymore. What’s done is done.…”

 

More Fiction from Mercer University Press

CuttercaneRoth_Pridemore_tbnlMother.of.Rain.300Sammy Levitt

 

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An Excerpt from the Award-Winning The Second Bud

Last week, Martha M. Ezzard won Best Memoir at the fiftieth annual Georgia Author of the Year Awards for her work The Second Bud. Today, we have an excerpt that will leave you craving the best wines that Georgia has to offer. Enjoy!

Second Bud

Excerpt

It is during our Norton vineyard’s second leaf when John discovers he can’t get the tractor between some of the rows. The reason, although Coach is loath to admit it, is that the two of them had relied on Coach’s alleged twelve-foot board to measure the distance between the rows when they were installing trellises. The problem was that Coach had two boards in the back of his pick-up—a twelve-foot board and a ten-foot board—and had pulled out the wrong one for spacing some of the rows. John finds it impossible to drive his tractor or sprayer between six of the Norton rows, which are only ten feet apart.

Once he discovers the error, John is despondent, a rare state for him. Not even his favorite mashed potatoes and chicken gravy I make for a “comfort food” dinner cheer him. We have planted 792 Norton vines, and he is already putting in long days, with help only from Coach since I’m in Atlanta all week. (It would be another eight years before we pull up 194 Norton plants to widen the rows so we can get the tractor through to spray and tend the vines properly.)

It’s early April—the canes on the vines are “bleeding” as the tiny buds wake to another spring and begin to swell. To walk through the rows is to absorb the energy and anticipation that something is about to happen. There is nothing routine about bud break; it’s always fresh and challenging—as if a new movement of a great musical composition is being created each spring.

 

Other Memoirs from Mercer University Press

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