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William Zimmer01/31/2016
11/26/2015
Phyllis Streeter Barrett11/17/2015
Anthony Lilly09/25/2015
Lucy Emory hendricks09/12/2015
Noel Mc Cullagh09/02/2015
Carol Bachman08/29/2015
mohammed08/29/2015
07/25/2015
Jonathan Dembo06/03/2015
This deed, survey and plat, dated 25 September 1799, granting 240 acres of land in Bladen County, North Carolina to Thomas Smith, was signed by North Carolina Governor Richard Dobbs Spaight, who also signed the U. S. Constitution. Spaight (1758 – 1802) was North Carolina’s 8th governor after American independence. The first native-born American to be elected Governor, he served three one-year terms, 1792 – 1795. Born in New Bern to the son of a colonial official, Spaight was educated in Ireland and Scotland. He returned to America to serve as an aide to American General Richard Caswell, during the Revolutionary War, 1778 – 1781. After the Revolution, Spaight served as a representative from North Carolina in the Continental Congress, 1782 – 1785, and in the North Carolina House of Commons, 1785 – 1788, where he became Speaker of the House. In 1787 he became a delegate to the Constitutional Convention in Philadelphia. He was only 29 when he signed the document. During his term as Governor, Raleigh was chosen as the site for the new State Capitol and Chapel Hill was chosen as the site for the University of North Carolina in Chapel Hill. As governor, Spaight was also the chair of the first UNC Board of Trustees. Spaight died in 1802 as the result of an wound sustained in a duel at New Bern with his bitter political rival, Federalist John Stanly. Spaight’s son, Richard Dobbs Spaight, Jr. (1796 – 1850) served as both congressman, 1823 – 1825, and governor, 1835 – 1836; his grandson, Richard Spaight Donnell (1820 – 1867) served as a congressman from North Carolina, 1847 – 1849.
Patrick Day05/30/2015
Noel Thomas "Tommy" Manning05/22/2015
When I entered East Carolina College as a Freshman during the fall quarter,1958, the "old" Austin Building was the major classroom building. It was there that I took most of my classes, including, Orientation, Composition I, Art Appreciation, Art and Basic Design, Figure Drawing, Painting, Drawing, and Voice and Diction. Already in decline, the Austin Building was the subject of many rumors declaring it unsafe for students and faculty; and already there was "talk" regarding a new Austin Building to replace it, although many of the Old Guard wanted the original building with its sundry, nostalgic accouterments preserved, salvaged, and refurbished to its original splendor. Outwardly, the Austin Building boasted its magnificence, but inwardly there were seen many structural disorders that could potentially cause harm to students and faculty; even some of the floors were bulging in places and nearing collapse in others. Uneven as many of the major halls were, some students jokingly commented about becoming seasick while traversing from class to class. Still, there was a beauty of the interior that few buildings since have shown to emulate; and newer exteriors could never be duplicated to show the magnificence of the "old" Austin; indeed, the cupola was the crowning glory of the old building, and it is surely a shame that it was not retained during the demolition of the wonderful old building. On many a study-hall break, I would play the concert grand piano that was situated on the stage of the Austin Auditorium, which also housed the large, Masters' Pipe Organ (someone may need to correct me here—but I believe the old organ was a Masters). Nostalgic as I am, and as a sentimental old man of 75, I am a proud alumnus of East Carolina University, and I have many fond memories of my studies in the "old" Austin Building along with many friends I made there, and the professors who taught me there. I hold them and the building in fond and treasured memory. A native of Ayden, North Carolina, where I was reared, I lived in the area until 1980, when I moved to San Antonio, Texas to accept the position of Managing Editor for the Christian Jew Foundation, which was founded in 1948. I was the third person to hold that position; and I still work part-time in the Editorial Department of that publishing house. With a concentration in Language Arts/English and a "sideline" interest of music: performance in organ, piano, and voice; for many years I taught adult classes in Creative Writing and Piano Performance/Music Theory in the Continuing Education Division at Pitt County Community College, Greenville, NC; and for several years, I served as Staff Artist and later as Editor of Literature at The Free Will Baptist Press Foundation, Ayden; and during that time, I also served as organist at Reedy Branch FWB Church, Winterville, NC. In San Antonio, I have served as Choir Master at Good Shepherd Presbyterian Church (near Lackland AF Base), and presently serve as Worship Organist at Bellaire Baptist Church, San Antonio. My classes in the "old" Austin Building aided me in all my professional and avocational endeavors, and I shall never forget the treasured memories of that era, when everything real and imagined flowed in a much more tranquil manner, nurturing and edifying even today in fond reflection.
phil leonard05/21/2015
Judy Cardwell05/14/2015
cui05/14/2015
Mitchell Meeks04/30/2015
Mitchell Meeks04/30/2015
Mitchell Meeks04/30/2015
tiare03/25/2015
Chris Hargett03/23/2015
Johnnie Cates03/13/2015
Johnnie Cates03/13/2015
Gina Graves Van Benthuysen03/12/2015
Wendy Tilley Henderson03/12/2015
Edward Reges03/03/2015
Richard Eberhart, Pulitzer Prize recipient and Poet Laureate of the United States from 1959 – 1961, is recognized as a dualistic poet; his poetry often featured two extremes in harmony, be they life and death or will and psyche. It is quite possible that the early days of his college career at Dartmouth College offered Eberhart a foundation for his understanding of the world and his creative identity. The Stuart Wright collection at Joyner Library has thirty eight boxes of Eberhart material, from poems and proofs to naval papers, calendars, photographs, and audio recordings.

Eberhart described philosophy as the “sum total of human knowledge as an outcome of the interpretation of the universe in one’s mind” in a paper written for his introduction to philosophy course in the spring semester of 1924. Stuart Wright obtained this paper and several others a young Eberhart wrote for this course. These papers depict a young man coming to terms with how he interprets the universe, and coincidentally, how he expresses himself. I have pulled from three of these papers, one on each of the prominent philosophical theories of mind, to demonstrate Eberhart’s reasoning.

The popular philosophy of mind in the 1920s, when Eberhart was a student at Dartmouth, was likely idealism. Put bluntly, idealism is the philosophy that everything we are and experience is an idea. Idealism is often seen as a dreamy outlook, and Eberhart seems to agree: “Intuition is a dream; thought must be the dream of that dream” (5).

Materialism, however, is the polar opposite of idealism. Backed by the consistency of science and observation, this theory claims that not only are the objects located in the external world that cause our experiences physical, but also our thought processes, experiences, and awareness are physical byproducts of a functioning nervous system. Eberhart refutes this theory by identifying ethically questionable motives for materialism: to break tradition and to control the external world. In his words, materialism focuses on “mental emancipation from the super-situation and false credulity of unproven gods and practice because it arises out of a desire to control the external world” (1). Eberhart dismissed materialism in part because he disliked its determinism, and believed instead that free will was the underlying principle of the physical form (Karthikeyan & Dwivedi, 226).

Eberhart combines his understanding of idealism and materialism to come to a conclusion in a third paper on substance dualism: the idea that reality consists of both physical and mental substances.

This dedication to a dualistic philosophy shows through in Eberhart’s works. As Karthikeyan and Dwivedi point out in their article “Richard Eberhart’s Poetic Theory: Art and Craft,” the poet believed that poetry is divided into an art and a craft, and used his craft to contribute to the art under the pretense that minds were divided into the physical will and the mental psyche. Karthikeyan and Dwivedi, on page 226, assert that Eberhart’s “psyche poetry pertains to the soul, to peace, quiet tranquility, serenity, harmony, stillness and silence. It provides psychic states of passive pleasure,” while “will poetry exists because of the power in the cell beyond its energy to maintain itself, ‘will’ results in action through zeal, volition, passion, determination, choice and command.”

It is a rare opportunity to see the reasoning behind a poet’s style and works. The Stuart Wright Collection in the Joyner Library offers explanations and personal correspondence that cannot be obtained with a Google search. For those interested, more items in the Eberhart papers, including a hand-inked autobiography of his early life and his philosophical analyses of Shakespearean literature, can be found in the Stuart Wright Collection Finding Aids, along with a short biography of his very interesting life.
Debbie Briley02/12/2015
Debbie Briley02/12/2015
Eric Poole02/10/2015
Edward Reges01/30/2015
Few could hope to have such an accomplished life as Robert Penn Warren. Three time Pulitzer Prize winner and the first Poet Laureate of the US, Warren’s prolific and versatile career includes ten novels, a collection of short stories, and numerous poems, dramas, and literary criticisms. He is also one of the most influential of the New Critics, a group that evaluated literary work by close reading and valued highly polished, difficult works characteristic of the Modernist period. Warren was taught by fellow Stuart Wright Collection author John Crowe Ransom.

Among several typescripts, manuscripts, and personal correspondence, the Stuart Wright Collection boasts more than 40 poems and over 60 pieces of literary criticism by Warren, many of which are unpublished or include revisions to original text in the poet’s own hand. This work of literary criticism preserves Warren’s remarkable views on literature. One such essay, titled “Fiction: Why Do We Read It?” shows the passion and importance he invested in fiction. On page 5, Warren quotes Freud’s assertion that the “’meagre satisfactions’ that man ‘can extract from reality leave him starving.’” What then can slate our hunger? According to Warren, it is fiction. On the same page, Warren asserts that:

In it we find, in imagination, not only the pleasure of recognizing our past, but the pleasure of experimenting with experiences which we deeply, and perhaps unwittingly, crave but which the limitations of life, the fear of consequences, or the severity of our principles forbid to us.

Thus, it is Warren’s belief that the act of reading fiction is not an escape from reality, but rather an escape to fiction (p2).

This is not the only role of fiction, however. Throughout “Fiction, Why Do We Read It?” Warren compares fiction to a daydream accessible to multiple individuals. It is this accessibility that makes fiction a social experiment of sorts. Warren explicates this concept on page 7:

To enter the publicly available day dream you have to surrender something of your own identity, have to let it be absorbed. You must identify yourself with somebody else, and accept his fate. You must take a role.

A reader may wonder at this point what value there is in surrendering a piece of their identity. After all, it is a piece of us, it is us in a sense. To sacrifice any bit of identity seems to compromise our sense of self. Warren doesn’t think so, however; in fact, he believes the opposite:

Play, when we are children, and fiction, when we are grownup, lead us, through role-taking, to a knowledge of others. But role-taking leads us, by the same token, to a knowledge of ourselves, really to the creation of the self. (9)

What Warren is saying is that to understand ourselves, we must have something to compare ourselves to, much like the relationship between light and darkness or hot and cold. Our concept of self, however, stems from within, not from perceptive senses like sight or touch. In order to make a comparison of who we are and who others are, we must take the role of someone else. At this point we can start to make statements such as “I’m not as brave as Aragorn” or “I could never fall in love with a vampire.” Comparisons such as these allow us to understand what we are and what we are not as individuals.

One would think, with the importance Warren grants fiction, that he would be an enthusiast of education in fiction writing.. In fact, Warren was adamant that fiction should not be taught in a university. On the second page of a literary essay titled “Courses in Writing,” Warren states:

It [the university] should realize that writing, except as a craft [technical and trade writing], is not to be taught – that the ideal is to create some semblance, however modest, of the natural community in which writing is learned by process of trial and error, of self-exploration of form.

Warren believes that fiction comes about from experimentation and peer review, not instruction. To instruct someone on how to compose fiction is to deny fiction its intrinsic value, supplementing it with popular styles and format in an effort to make a piece successful. To the new critics, nothing could be more villainous.

For more information on the New Critics, try the summary given here.
http://public.wsu.edu/~delahoyd/new.crit.html
For more insight into the mind of poet, author, and ersatz philosopher Robert Penn Warren, request one of his boxes from the Stuart Wright Collection and head to the third floor of Joyner library to enjoy.
01/13/2015
Rob Nelson12/07/2014
Charles Whitley11/29/2014
Linda Branch (formerly Linda Branch Harrington)11/07/2014
Beth Winstead11/05/2014
Ellen Walter ( now Cortes)08/03/2014
Marc J.07/27/2014
Jim Bryce07/26/2014
sandra silha06/04/2014
Shannan Suttle04/20/2014
will o'neil04/18/2014
The man in the cowboy hat is, United States Speaker of the House of Representatives Sam Rayburn. 04/15/2014
The Havelock Progress04/08/2014
Diamond Anniversary 1952 1982 30 Years of Community Service The Havelock Progress “Gopher Baroque” 31st YEAR NUMBER 3 Wednesday, May 19, 1982 USPS 577-920 15 Cents Train Hits Child; Runs Over Baby by Edward Ellis Managing Editor They are calling it a miracle. The Miracle at Railroad Street. Here’s what happened: A fully loaded Southern Railway train screamed to a halt at a crossing near Havelock Friday afternoon. The engineer, Gerald Johnson of Vanceboro, watched horror struck as one small child was hit and another, a beautiful, blonde, 18-month-old baby disappeared beneath the massive steel locomotive he was fighting so hard to stop. By Tuesday both the children were home, struggling once again for possession of the toy baby car-riage that nearly cost them their lives, the one they pushed in front of The Miracle On Railroad Street Quick Action Saved Children’s Live the 100-car train a few days before. Authorities and the relatives of the children are saying that tow things saved the babies: the quick thinking of the train’s crew members and a touch of miraculous luck. Johnson, the engineer, would say later, after he calmed down some, that it is not uncommon for children to be somewhere on the tracks. “Sometimes they run out in front of the train sort of teasing and then jump out of the way,” Johnson said. Other crew member said kids are always playing by the tracks sometimes placing pennies on the rails to be flattened by trains like the 71,020-ton behemoth Johnson was piloting Friday. Johnson saw the children, Samantha and Shaniena Tom-pakov, from some distance and began blowing his whistle as he ap-proached the Creek Drive Crossing. Creek Dive slips off the end of Hollywood Blvd. and crosses Railroad Street before making con-tact with the rail line and continuing its dirt strip a little farther to an electrical transformer station. The cousins, Samantha, 18 mon-ths, and Shaniena, 2, had wandered away from their house at 210 Railroad Street pushing their baby buggy and had settled down to play at the crossing, between the tracks. The train’s whistle hooted so per-sistently that people downtown Havelock later said they heard it. About 300 yards away, at about 20 miles per hour, Johnson realized at once how small the kids were and that they were not moving. Just like in the movies, Johnson slammed the train into full emergency, locking the wheels and placing the freight train into a heart-stopping slide. Front end brakeman Joe Dunn, also from Vanceboro, raced to the front of the engine via a walkway realizing the train could not stop in time to avoid the children. He saw the two-year-old was standing just to the side of the track and the baby was standing between the rails. As the train reached the crossing, cars banging, still skidding, Dunn yelled for the child to lay down. For some reason, after refusing to move for the oncoming train, 18-month-old Samantha Tompakov dove for the ground and disappeared beneath the train. The two-year-old, who had also stubbornly stood her ground, was struck at the jaw line by the step assembly on the side of the engine and knocked to the ground. The baby was found lying under the rear axle of the train’s second locomotive, knocked unconscious, but otherwise unhurt. Clearance please turn to page 3 staff photo by Edward Ellis Lucky Ones NEARLY KILLED -- A woman identified as the grandmother of Sha-niena Tampakov hold the child, at left, and Patricia Adkins hold here daughter, Samantha. Rescue chief John Julian, at center, heads for the ambulance. Two Engines Went Over Child Auxiliaries Help HPD Get Its Big Job Done by STEPHANIE S. HAILEY staff photo by Edward Ellis Crewmen Moved Fast RIGHT THERE -- Engineer Gerald Johnson points to the spot where an 18-month old baby was pulled from beneath a Southern Railway freight train. IN the inset, brakeman Joe Dunn who ran to the front of the train and told the child to lay down. Close Call (continued from page 1) under the engine is measured in in-ches. Police and rescue squad workers, railroad officials and the Highway Patrol were among those who rush-ed to the scene. They found Shaniena with a large purple swelling on the side of her face and some scratches on her back. Samantha’s only sign was a small scratch on her forehead. Both children were check out at Carteret General Hospital and then sent home. Rescue chief John Julian said it could “not be put into words how lucky those children are” The parents of the children, Robin Tompakov and Patricia Adkins, had nothing but praise for the fast action of the railroad crew. The relatives charged with wat-ching the children Friday were busy washing a car at their home about three lots from the crossing at the time of the incident. Joe Dunn added the final words of wonderment to the incident when he told a reporter at the scene: “I guess there was a reason for me to have been on here. I tried to get off this train today.” Viets Chosen By USAF