The heart-stopping classic 1970 novel--an unforgettable tale of violent adventure and profound inner discovery. Four middle-class men from suburban Altana decide to embark on a three-day canoe trip down a particularly wild section of a river in Georgia. For them the trip represents a break in the domestic routine, a chance for adventure with few real risks, and the last occasion to see a beautiful valley before the river is dammed up. Their leader, an enthusiastic outdoorsman and champion archer, is obsessed by the desire to pit himself against nature. When two of the group are attacked viciously by sinister mountain men, a mildly adventurous canoe trip explodes into a nightmare of horror and murder. Men stalk and are stalked by other men, the treacherous river becomes a graveyard for those without the strength or the luck to survive, and one man, forced to assume the leadership of the group, must call up his resources to try to achieve deliverance.

'We need London's mythical wolf almost as much as we need the wildernesses of the world, for without such ghost-animals from the depths of the human subconscious we are alone with ourselves' - from the introduction This volume of the best of Jack London's famed stories of the North includes The Call of the Wild, London's masterpiece about a dog learning to survive in the wilderness, along with 'Bâtard', 'Love of Life', and White Fang, the story of a wild dog's acclimation to the world of men, generally considered the companion piece to The Call of the Wild. In his introduction, James Dickey probes London's strong personal and literary identification with the wolf-dog symbol and totem. Andrew Sinclair, London's official biographer and the volume's editor, provides a brief account of London's life as sailor, desperado, socialist, adventurer and acclaimed author.

"The true key to unlocking the secret of the Bible," according to author E. James Dickey, "is found in biography." Some people would approach the Bible from a doctrinal, sacramental, historical, and archaeological point of view. Valid as these ways of understanding this "magnificent treasure" known as the Bible are, any or all of these measures "fall far short of encompassing the whole content of the Bible."

The way to "embrace the totality of scripture and unlock the mystery therein is through biography," according to the author. "No other spiritual or religious documents in the world have this element to it. Instead, dictums, commandments, sayings, maxims and axioms dominate such writings. Valid as they are, the truly human element is missing.

"Moreover, the relationship with the one, true God and with one another is dictated by those words--be they inspired, revealed, or fashioned. So, any relationship tends to become subservient to the statements themselves. Thus, freedom is thwarted and throttled at its very roots.

"It is true that biography often is somewhat sketchy throughout the scriptures, but enough elements are there to portray a real picture of the people involved. To look at the Bible from the primary relationship with the one, true God of the whole universe and with live human beings is the key to the scriptures. When sincere, it will produce fruits beyond compare."

"The true key to unlocking the secret of the Bible," according to author E. James Dickey, "is found in biography." Some people would approach the Bible from a doctrinal, sacramental, historical, and archaeological point of view. Valid as these ways of understanding this "magnificent treasure" known as the Bible are, any or all of these measures "fall far short of encompassing the whole content of the Bible."

The way to "embrace the totality of scripture and unlock the mystery therein is through biography," according to the author. "No other spiritual or religious documents in the world have this element to it. Instead, dictums, commandments, sayings, maxims and axioms dominate such writings. Valid as they are, the truly human element is missing.

"Moreover, the relationship with the one, true God and with one another is dictated by those words--be they inspired, revealed, or fashioned. So, any relationship tends to become subservient to the statements themselves. Thus, freedom is thwarted and throttled at its very roots.

"It is true that biography often is somewhat sketchy throughout the scriptures, but enough elements are there to portray a real picture of the people involved. To look at the Bible from the primary relationship with the one, true God of the whole universe and with live human beings is the key to the scriptures. When sincere, it will produce fruits beyond compare."

NEED INSPIRATION?

The answer may be found in the labor of love The Amazing Power of The Holy Spirit by E. James Dickey

This power-packed writing promises new insights and inspiration to all who are in need of spiritual sustenance today. It is full of examples, stories, scriptural references, and for the deep thinker, strong theological proclamations.

These pages on The Amazing Power of the Holy Spirit promise new insights and inspiration to all who love the written word, especially in relation to the critical need of spirituality today.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This collection of James Dickey's poems and prose includes choice selections of the author's poetry, fiction, and essays, as well as some early unpublished poetry and excerpts from his unfinished novel Crux. Organized chronologically by genre, this is the definitive collection of works by one of the twentieth century's most important talents.

James Dickey's creativity as a poet is well known. But there have been few opportunities for his readers to become familiar with the full dimensions of his mind, with the thoughts and perceptions that lie just outside the matter of his poetry.

"Sorties" brings together the contents of a journal kept by Dickey for several years and six discerning essays on poetry and the creative process. The journal follows Dickey's mind as it alights on a wide array of topics, ranging from the work of his colleagues to the plotting of a new novel, from the onset of old age to pride over accomplishments in archery and guitar playing. Dickey can be blunt in his opinions, as when he states that "a second-rate writer like Norman Mailer will sit around wondering what on earth it is that Hemingway had that Mailer might possibly be able to get." But the journal also reveals a great capacity for sympathy, as when Dickey tells of his father's long illness, and a revealing candor--"I am Lewis," he writes of his novel Deliverance, "every word is true."

The journal is at its most revealing, however, when Dickey discusses the craft of poetry. "It is good for a poet to remember," he writes, "that the human mind, though in some ways very complicated, is in some others very simple." This awareness that poetry must understand the simplicities of human existence is a recurring concern for Dickey, and he writes with disdain of the "brilliant things" that too often clog poetry, the stale self-absorption that warps the perceptions of many poets. In the essays that make up the second part of the book, Dickey also focuses on poetry, exploring the relation of the poet to his works, the promise of a younger generation of poets, and the place of Theodore Roethke as the greatest American poet.

Wide-ranging and acute, "Sorties" opens up for the reader the discriminating mind that lies behind some of the most accomplished and memorable poetry written in America in this century.

This volume represents, under one cover, the major work of the man whom critics and readers have designated the authentic poet of his American generation. For this collection, James Dickey has selected from his four published books all those poems that reflect his truest interests and his growth as an artist. He has added more than a score of new poems - in effect, a new book in themselves - that have not previously been published in volume form.
Specifically, Poems 1957-1967 contains 15 of the 24 poems that were included in his first book, Into the Stone (1960); 25 of the 36 that made up Drowning With Others (1962); 22 of the 24 in Helmets (1964); the entire 22 in the National Book Award winner Buckdancer's Choice (1965); and, under the titles Sermon and Falling, the exciting new poems mentioned above. Seldom can the word "great" be used of the work of a contemporary in any art. But surely it applies to the poems of James Dickey.

In 1996, as James Dickey struggled with his impending death and endeavored to overcome it-an effort that had always engaged his imagination- he re-established his priorities. Recognizing that he would die from suffocation brought on by fibrosis of the lungs, he attempted to wring two long poems, "Show Us the Sea" and "For Jules Bacon," from his earlier works and from his old self, not the drunken genius but the football player and weight lifter, the combat aviator and caring father. The transformation was, in all-important respects, a resurrection. These two lengthy poems, together with shorter poems, are thus, literally, the "last motion" but thematically, these works allude to his previous poetic efforts and summarize his life as death approached. The volume continues the concerns that were always Dickey's primary interests: family, war, death, and love. Moreover, the poetry echoes, in its images and dramatic resolutions, earlier works. While these poems depict the inevitability of death, they also reveal the redemptive quality of that light and acknowledge the transience of its glory. Death, and the Day's Light, the volume of poetry James Dickey was working on when he died, offers the writer's final views on love and death, fathers and sons, and war and resurrection. This volume constitutes an invaluable addition to the canon of a major American poet and allows for a complete understanding of his oeuvre.

The Complete Poems of James Dickey is an authoritative edition of all 331 poems published by one of America's most distinguished poets, collected in one volume for the first time. Dickey's most-admired and most-anthologized poems--such as "The Performance," "Cherrylog Road," "The Firebombing," "Falling," and "May Day Sermon"--along with his epic poem The Zodiac are placed in chronological order of publication, affording a poetic autobiography that reveals the intellectual development and the constant experimentation of an iconic American literary figure.
This collection includes 93 poems Dickey did not publish in The Whole Motion (1992), 238 poems that he collected as an overview of his whole career. The Complete Poems of James Dickey also includes an apparatus listing publication data and textual variants for the poems, as well as explanatory notes placing Dickey's poetry in biographical and historical context. Edited with an introduction by Ward Briggs, this authoritative and complete edition will be the definitive primary source for Dickey's poetry.
This collection includes a foreword by poet Richard Howard, president of the PEN American Center and winner of the Pulitzer Prize for his 1969 collection, Untitled Subjects.

Widely known as the winner of the 1966 National Book Award and author of the best-selling novel ""Deliverance"", James Dickey devoted himself as much to the critique of the modern literary tradition as to his participation in it. A writer enthralled by teaching, he lectured at several major universities before settling at the University of South Carolina for nearly three decades as poet-in-residence. After his death in 1997, a transcript of his lectures was found among his papers. Collected here and published for the first time, these lectures reveal judgments and appraisals Dickey would use to great effect in his teaching. They also contribute to the unraveling of Dickey's art from the larger-than-life myth that surrounded him. In a comprehensive introduction to Dickey's remarks, Donald J. Greiner evaluates the relevance of the writer's often sharply worded opinions. The volume brings to life class sessions planned and delivered soon after Dickey took up full-time residence at the University of South Carolina, in the triumphal years following his rapid succession of honours. Full of asides, witticisms and afterthoughts, the sessions suggest not the pontification of a scholar at an academic conference but the confident learning of a practicing poet who happens to enjoy being in the classroom. Clearly setting forth his sense of literary criticism, Dickey repeatedly emphasizes the preeminence of the poet over the critic, the original use of language as a primary criterion for effective poetry, and the centrality of personal reaction to poetry as a measure of its value. Dickey's comments are valuable for their insight into both his own thought processes and those of the poets he reviewed, among them William Butler Yeats, Ezra Pound, Dylan Thomas, A.E. Housman, Gerald Manley Hopkins, Robert Frost, Walter de la Mare and Robert Bridges.

James Dickey: The Selected Poems is the first book to collect James Dickey's very best poems. Like many visionary poets of the ecstatic imagination, Dickey experimented in a wide variety of literary styles. This volume brings together the finest work from each of the periods in Dickey's extremely controversial career. For over three decades, until his death in 1997, Dickey was one of the nation's most important poets; these are the poems that brought him a popular readership and critical acclaim.

For over three decades, James Dickey has been one of the nation's most important poets and a prominent man of letters. The Whole Motion collects his poetic oeuvre into a single volume: 235 poems from his first book, Into the Stone (1960), to The Eagle's Mile (1990), along with previously uncollected poems and unpublished "apprentice" works.

A book of new poems by a major writer is an event. A book of new poems that marks a different, more powerful approach is cause for celebration. "What I looked for here," James Dickey tells us about The Eagle's Mile, "was a flicker of light 'from another direction, ' and when I caught it - or thought I did - I followed where it went, for better or worse." In this new work, Dickey edges away from the narrative-based poems of his previous books and gives instead more primacy to the language in which he writes. His poetry gains flexibility, and his poetic power becomes even surer and more clearly expressed. "I have experimented," Dickey writes, "and look forward to experimenting more."

Whoever looks to a new book by James Dickey for further work in an established mode, or for mere novelty, is going to be disappointed. But those who seek instead a true widening of the horizons of meaning, coupled with a sure-handed mastery of the craft of poetry, will find this latest collection satisfying indeed.
Here is a man who matches superb gifts with a truly subtle imagination, into whose depths he is courageously traveling--pioneering--in exploratory penetrations into areas of life that are too often evaded or denied. "The Firebombing," "Slave Quarters," "The Fiend"--these poems, with the others that comprise the present volume, show a mature and original poet at his finest.