Lie Down Research Articles

A Study in Neo‐conservative Populism: Richard Trudgen's Why Warriors Lie Down and Die

First appearing in 2000, and with 20,000 copies sold as it entered its sixth printing in 2004, Richard Trudgen's Why Warriors Lie down and Die is a minor publishing phenomenon. Although scholarly forums have generally ignored the book, Christian media outlets, the popular press and neo‐conservative political activists have enthusiastically received and promoted it. An examination of the merits of Why Warriors Lie down and Die suggests that its popularity is only partly explained by original observations or insights on the part of the author. The most important explanation, and implication, of the book's remarkable take‐up lies in the opportune way in which it corresponds with now ascendant neo‐conservative political perspectives on indigenous policy.

The Pacific Northwest and the Post-Colonial Imagination: Robert Cantwell’s The Hidden Northwest

T h e P a c if ic N o r t h w e s t a n d t h e P o s t - C o l o n i a l Im a g in a tio n : R o b e r t C a n t w e l l ’s Th e Hid d e n N o r th w est J o h n T r o m b o l d American historians and literary critics— though not Americans gen­ erally— have come to view the ideology of the American frontier and Manifest Destiny as powerfully interwoven with an imperial American legacy. In studies by Richard White, Patricia Nelson Limerick, and Walter LaFeber, and in writings by postnationalist critics collected by Amy Kaplan and Donald Pease, scholars have elucidated the American sense of national mission that motivated the conquest of Native American peoples and the expropriation of their land. Frank Bergon notes the fre­ quency with which the journals of Lewis and Clark, seminal texts in the tradition of American writing about the West, have been understood as epic narratives in what is a tradition of writing about the conquering of previously uncharted nature. Kris Fresonke considers such exploration narratives— whether fully encapsulated by the term epic or understood as a “tradition”— as manifestations of a preconceived national design. Numerous western writers have self-consciously inscribed, with refer­ ence to this Lewis and Clark narrative tradition of exploration and discovery, an epic literary inclination evident in both fiction and non­ fiction. Given the current understanding of this convention of narrative devoted to description, exploration, and colonization, it is sometimes difficult to keep in mind not only that narratives of colonization are imbricated with utopianism, but also that the trope of western regions such as the Pacific Northwest has served purposes other than imperial ones, that not each and every rhetoric of design apparently manifest in the landscape serves the empire wholly. A region of riches for exploitation and for narratives of epic wilder­ ness adventure, the Northwest is also, as the personification of the idea of nature itself in what Stewart Holbrook dubbed the “Far Comer” and Nancy Wilson Ross called the “Farthest Reach” in their respective books on the subject, a very elastic signifier for writers’ political imaginations. For the 1930s novelist Robert Cantwell in particular, writing about the Northwest, with its heritage of colonization in the wilderness, was a W e s t e r n A m e r ic a n L i t e r a t u r e 40.4 ( W in t e r 2006): 386- 403. JO H N TR O M B O LD 3 8 7 vehicle for self-expression at variance with a dominant ideology. What might be mistaken for his Jacksonian populism— or Pacific northwest­ ern provincialism— in Cantwell’s nonfictional writing as he rose from a northwestern timber town writer to national fame as a novelist and editor recast but did not negate his proletarianism of the Depression era. His extended elaboration on the idea of the Northwest develops into an idiosyncratic postcolonial literary enterprise re-creating and reflecting on the history of the region, with its odd history of joint governance by Britain and the United States, the competing imperial powers that displaced Spain, Russia, and France in their struggle for control. Bom in 1908 in Vader (formerly Little Falls), Washington, Cant­ well knew intimately northwestern timber towns and the forests that surrounded them. As a result of his father’s illness, he left the University of Washington after one year of college and worked in a plywood mill in Hoquiam, Washington, from 1925 to 1929. He wrote two northwest­ ern, proletarian novels: Laugh and Lie Down (1931) and Land of Plenty (1934), but he underwent a professional metamorphosis in the 1940s, working on the editorial staffs of Time and Fortune, becoming the literary editor oiTime magazine, an editor of Newsweek from 1949 to 1954, and then an editor of Sports Illustrated. Cantwell worked successfully for and became well acquainted with Henry R. Luce, the founder and publisher of Time Life and Fortune magazines and...

A Bit of a Lie Down

A Bit of a Lie Down

BOOK REVIEWS

Book reviewed in this article:Djambatj Mala: Why Warriors Lie Down and Die: Towards an Understanding of Why the Aboriginal People of Arnhem Land Face the Greatest Crisis in Health and Education Since European Contact: Richard Trudgen.Mentoring, Preceptorship and Clinical Supervision: A Guide to Professional Roles in Clinical Practice. 2nd edition: Alison Morton‐Cooper and Anne Palmer.Returning to study: A guide for professional: Stuart Powell.

Why Warriors Lie Down and Die: Towards an Understanding of Why the Aboriginal People of Arnhem Land Face the Greatest Crisis in Health and Education Since European Contact: R. Trudgen.

Why Warriors Lie Down and Die: Towards an Understanding of Why the Aboriginal People of Arnhem Land Face the Greatest Crisis in Health and Education Since European Contact: R. Trudgen.

An Evaluation of In vivo Sensitivity via Public Monitoring

Citizen volunteers from the Carlsbad, New Mexico area were monitored for internally deposited radionuclides through a project entitled 'Lie Down and Be Counted'. This project is provided as an outreach service to the public to support education about naturally occurring and man-made radioactivity present in people and the environment prior to the opening of the Waste Isolation Pilot Plant (WIPP). The bioassay measurements consisted of a lung and whole-body count. Prior to their bioassay, each subject completed a lifestyle questionnaire which included questions regarding their age, sex, weight, height, ethnicity, occupation, foreign travel, wild game consumption, smoking habit and any nuclear medicine procedures. Since a majority of these radionuclides were not detectable in local residents, a primary focus of the study was to evaluate the variability of human background and the implications with respect to measurement sensitivity.

“And the Lion Shall Lie Down with the Lamb”: U.S.- Canada Cultural Relations in a Free Trade Environment

“And the Lion Shall Lie Down with the Lamb”: U.S.- Canada Cultural Relations in a Free Trade Environment

Interlocutors, Interpellants, Interpreters, Interpretants

William Styron. The Confessions of Nat Turner. Vintage International Edition. New York: Vintage Books, 1993. Albert E. Stone. The Return of Nat Turner: History, Literature, and Cultural Politics in Sixties America. Athens: University of Georgia Press, 1992. Even though Vintage has recently brought out a twenty-fifth anniversary edition of The Confessions of Nat Turner, and even though Samuel Coale's 1991 William Styron Revisited argues that, even if Styron failed to overcome certain problems posed by his choice of a first-person narrative, "the Con- fessions of Nat Turner remains a powerful novel in its own right" (102), it seems that the angry attacks launched by those Ten Black Writers who pub- lished, in 1968, under the editorship of John Henrick Clarke, William Styron's Nat Turner: Ten Black Writers Respond were opening salvos in a campaign that has by now pretty much driven the Virginia-born novelist from the field where the prize was the right, the 'privilege,' to define and characterize the leader of the violent 1831 slave rebellion. What is more, it now seems that the controversy over Styron's fourth novel, The Confessions, presaged a dimming of his once-glimmering literary reputation, fostered a critical climate in which many readers, if they could be bothered to consider the matter, would be likely to smile condescendingly at the assertion with which Coale concludes his book: "Sophie's Choice is a masterful, passionate vision, one filled with all the ambiguities and uncertainties that such dark visions can conjure up. The promises of Lie Down in Darkness are here realized, and the confessions of William Styron have reached their present fulfillment" (134).

Improvement of Depression and Triggering of Mania by Sleep Deprivation

SELECTED CASES CASE 1. —William Styron, author of several novels, including Lie Down in Darkness, Confessions of Nat Turner , and Sophie's Choice , became clinically depressed in 1985 at the age of 60 years. In his book, Darkness Visible (the title of which was taken from Milton's description of hell in Paradise Lost ), he provides an extraordinary account of the symptoms and course of his illness. I have chosen to include a few of his observations herein because they seem to illustrate important connections between depression, sleep, and a classic symptom of depression—diurnal variation in mood. Styron's depression began when he stopped drinking alcohol. Gradually, he developed anhedonia and feelings of worthlessness and had thoughts of death. Ultimately: The act of writing itself, becoming more and more difficult and exhausting, stalled, then finally ceased. 1(p46) As is typical in depression, the severity of Styron's symptoms had a striking daily rhythm:

Darkness Visible: A Memoir of Madness

ABSTRACT Several years ago, without warning, William Styron lost a friend. The friend abandoned him gradually and reluctantly, as a true friend might, but like a shot—and was left high and certainly dry.Dry indeed. The friend was alcohol. For 40 years, Styron had (his word) abused alcohol. Suddenly, at 60, he could not drink. A mouthful of wine caused nausea, wooziness, a sinking feeling, something Styron supposed Antabuse might do—but he was not taking Antabuse. Apparently he had never been treated for a drinking problem. The Antabuse-like reaction had no medical explanation.The author of Lie Down in Darkness and Sophie's Choice missed alcohol terribly. Like a great many American writers, he wrote, I used alcohol as the magical conduit to fantasy and euphoria, and to the enhancement of the imagination. There is no need to either rue or apologize for my use of this soothing, often sublime

Stingo's Complaint: Styron and the Politics of Self-Parody

Stingo's Complaint:Styron and the Politics of Self-Parody Ralph Tutt (bio) William Styron's position as an American writer rests on four fulllength novels and a novella published over a period of nearly thirty years. The dozen or so short stories he has published represent apprentice work for the most part or work extracted from novels-in-progress. He has shown no particular talent or predilection for the form. His occasional prose has been only a sideline, he admits (Quiet Dust ix), but several essays and review essays—those on Nat Turner, Lieutenant Calley, the prison letters of James Blake, Philip Caputo's A Rumor of War, Richard L. Rubenstein's The Cunning of History, and the case of eighteen-year old Peter Reilly charged in 1973 with the murder of his mother in Canaan, Connecticut—do command attention not only because they reflect the nagging moral anxiety of his fiction but also because they obviate the image foisted on him by Norman Mailer in the Sixties, that of a reconstructed Virginia Gentleman and literary opportunist with the mind of a virgin oyster (Advertisements 4). Gentleman he is—nowhere has this been more evident than in his public response to Mailer's vendetta—a gentleman driven by ancient moral imperatives in confronting Old- and New-World barbarisms like the Southampton insurrection, the My Lai Massacre, Auschwitz, and (to juxtapose the egotistical with the historical sublime) Mailer himself. [End Page 575] In addition to his fiction and occasional prose, Styron has collaborated on an unproduced film script, Dead!, based on the Snyder-Gray murder of 1927. In the Clap Shack, a play based on an episode both amusing and gruesome in his Marine Corps experience during World War Two, was produced by the Yale Repertory Theatre in 1973 and published the same year. Putting it gently, the play and screenplay served primarily as reminders that the gifts that had made Styron famous were not those of a playwright. It had been a good five years since he won the Pulitzer Prize for The Confessions of Nat Turner. Had all the racist fuss following it done him in? Few novelists of Styron's generation have remained so long in the limelight with such long hauls between books and without benefit of the celebrity grubbed by talk-show veterans, Norman Mailer, Gore Vidal, Truman Capote, Tennessee Williams, and Mary McCarthy in the Seventies. His last two novels, The Confessions of Nat Turner and Sophie's Choice, received more than a fair share of media hype, but he has always scorned the television sparring ring and during the Johnson administration grew wary of literary awards and White House invitations.1 Since a skirmish with student militants at Harvard in 1968, his appearances on college campuses have been rare. It was not until 1973 that his work was included in a major college anthology of American literature.2 After his success with Lie Down in Darkness in 1951, Styron was widely considered the Southern writer most worthy of comparison with Faulkner and most likely to revitalize the "Southern School" for post-World War Two readers. In a Paris Review interview of this year, however, he declared his independence of the Southern School and all other Schools, berating those critics whose existence depends upon the invention and inventory of "Schools" and discouraging any thoughts of his becoming spokesman for a new generation. "What the hell is a spokesman, anyway? I hate the idea of spokesmen . . . so-called spokesmen trumpeting around, elbowing one another out of the way to see who'll be the first to give a new and original name to twenty-five million people: the Beat Generation, or the Silent Generation, and God knows what—all" (Matthiessen 278).3 The following year The Long March was published. In thematic complexity, economy of means, and stylistic finesse, this novella is his most flawless performance to date. It deserves its place with Melville's Bartleby the Scrivener, Crane's The Blue Hotel, Faulkner's Red Leaves, and Flannery [End Page 576] O'Connor's Wise Blood in Philip Rahv's collection, Eight Great American Short Novels. In its allegorical leaning as in its theme...

The State and the Unions: Labor Relations, Law, and the Organized Labor Movement in America, 1880-1960

Editor's preface Preface Part I. The Legitimacy of the Labor Union: Introduction: 'Labor's ultimatum to the public' 1. The corporate political economy 2. Law, labor, and ideology 3. From conspiracy to collective bargaining Part II. Labor and the Liberal State: Introduction: 'Who bears the business risks' 4. The New Deal collective bargaining policy 5. A legal discourse 6. Utopians and technocrats Part III. 'Lie Down Like Good Dogs': Introduction: responsible unionism 7. The road to Taft-Hartley 8. The Taft-Hartley Act 9. The state and the unions Bibliographical essay Index.

William Styron's Sophie's Choice: The Structure of Oppression

In the face of repeated objections to the assertion in What Is Literature (1948) that a anti-Semitic or racist novel would be a contradiction in terms, Jean-Paul Sartre maintained that whatever the theoretical value of his analysis, no one had yet taken up the practical challenge: show me a single good novel whose deliberate intention was to serve oppression, a single one written against Jews, Blacks, workers, colonialized peoples.1 If we judge by his most recent novel, William Styron seems to believe that his own work may represent for some readers an attempt to satisfy Sartre. Sophie's Choice incorporates frequent and barely disguised references to the negative critical reception of Styron's earlier novels, which frequently included charges of racism. Such reminders have served strong evidence for the many reviewers of Sophie's Choice who are insistent on identifying its fictional narrator Stingo with William Styron himself. Thus Nathan Landau notes signs of ingrained and unregenerate racism in Stingo's first novel,2 highly reminiscent of Styron's own Lie Down in Darkness; and the mature Stingo comments on similar reactions to what is clearly a version of The Confessions of Nat Turner: as accusations from black people became more cranky and insistent that a writer-a lying writer at that-I had turned to my own profit and advantage the miseries of slavery, I succumbed to a kind of masochistic resignation.. . (p. 37). Moreover, Stingo's and Styron's current Sophie's Choice, for Stingo is writing the novel we are reading, has aroused general critical acknowledgment that its treatment of Jewish experience invites charges of anti-Semitism, even if none has materialized to date.

Law and Grace in Styron's "Set This House on Fire"

While William Styron's first novel, Lie Down in Darkness, was accorded great praise, his more ambitious Set This House on Fire was either greeted by polite silence or "treated to a torrent of critical abuse the like of which has seldom been seen in our time." 1 The passage of several years, however, has afforded the opportunity for a reassessment of the later novel, which has resulted generally in a much greater appreciation of it.2 Yet it will be hermeneutically significant to consider why, according to the suggestive hypothesis of Louis Rubin, the novel was so roundly condemned at first. In Rubin's view, Lie Down in Darkness was seen by the critics to be a distinctive but continuous extension of the southern tradition of Wolfe and Faulkner. But Rubin holds this to have been a mistaken reading. Given the great history of the southern tradition, the critics brought to Lie Down in Darkness an expectation and frame of reference into which the novel seemed to fit. But it x ras really a matter of making it fiterroneously-their expectation.3 Or to use the categories of Hirsch, the critics on the basis of past experience came to a genre expectation about the novel which was wrong, and the mistaken genre expectation caused them to misinterpret the details.4 Rubin carefully compares Lie Down in Darkness with Faulkner's The Sound and the Fury showing that the two

William Styron: The Absence of Social Definition

Norman Mailer, in now legendary and prophetic fit of pique, accused Styron's first novel, Lie Down In Darkness, of lacking three qualities: was not near to creating man who could move on his feet, his mind was uncorrupted by new idea, and his book was without evil.1 At the time, when Styron had yet to publish the overwritten Set This House On Fire and The Confessions of Nat Turner, Mailer's remarks seemed like jealous outrage, inspired, as most of his literary judgments are, by the challenge he feels other writers may offer to his own standing in American letters. Mailer seemed to be ignoring Styron's genuine interest in the loneliness and isolation at the heart of American life masked by those institutions which occupy him: the family, religion, and the state. Yet Mailer's scorn of Set This House On Fire, not wholly unanticipated, seemed to vindicate his earlier view: a bad maggoty novel. Four or five halfgreat short stories were buried like pullulating organs in corpse of fecal matter, overblown unconceived philosophy....2 Mailer was right. Lie Down in Darkness was more promising in its portrayal of the estrangement of its characters, who, at the beginning of the novel, seem ready to be developed as social types in the modern South. It established Styron as potential analyst of the failures of America in her rise to world empire. Yet Set This House On Fire was strangely without coherent point of view or conception of social issues. Irving Howe analyzes very perceptively the failure of the group of young post-modern writers to which Styron belongs. They are vaguely morose, but lack the will to define intelligibly structural weaknesses in the society they deplore;

TO MATCH COLORS, DON'T LIE DOWN ON JOB

School Science and MathematicsVolume 51, Issue 7 p. 531-531 TO MATCH COLORS, DON'T LIE DOWN ON JOB First published: October 1951 https://doi.org/10.1111/j.1949-8594.1951.tb06740.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume51, Issue7October 1951Pages 531-531 RelatedInformation