By Richard Gray, Owen Robinson
From slave narratives to the Civil warfare, and from nation song to Southern game, this spouse is the definitive consultant to the literature and tradition of the yank South.
- Includes dialogue of the visible arts, tune, society, background, and politics within the quarter
- Combines remedy of significant literary works and ancient occasions with a survey of broader subject matters, events and matters
- Explores the paintings of Edgar Allan Poe, Mark Twain, William Faulkner, Zora Neale Huston, Flannery O'Connor and Eudora Welty, in addition to these - black and white, female and male - who're writing now
- Co-edited via the esteemed student Richard grey, writer of the acclaimed quantity, A background of yankee Literature (Blackwell, 2003)
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Additional info for A Companion to the Literature and Culture of the American South
Baton Rouge, LA. Jones, Anne Goodwyn and Donaldson, Susan V. ) (1997) Haunted Bodies: Gender and Southern Texts. Charlottesville, VA. Jones, Gayl (1991) Liberating Voices: Oral Traditions in African-American Literature. Cambridge, MA. Jones, Jacqueline (1985) Labor of Love, Labor of Sorrow: Black Women, Work, and the Family from Slavery to the Present. New York. ) (2002) South to a New Place: Region, Literature, Culture. Baton Rouge, LA. ) (1973) Hillbilly Women. New York. King, Richard H. (1980) A Southern Renaissance: The Cultural Awakening of the American South, 1930–1955.
Kramer (Jackson, MS, 1985), p. 69. See also William Faulkner, Absalom, Absalom! (New York, 1936), p. 261. It is, of course, Quentin Compson who observes: ‘‘Maybe nothing ever happens once and is finished’’; and while it would be wrong to identify character and author, the points of coincidence – and the relevance of this observation to Faulkner’s narrative habits of repetition and revision – should not be overlooked. REFER ENCE S A ND FURT H ER R EADI NG Aaron, Daniel (1973) The Unwritten War: American Writers and the Civil War.
What emerges with particular power from all this is the possibility that even the process of commodification, the turning of an image of the South or regional icon into a marketable asset, could be regarded as playing an integral part in the making of a culture. After all, whether anyone likes it or not, Southerners are ‘‘known’’ to themselves and others through the mass media, among many other forms of communication. And what emerges with even more power is the fact that our perception of the South must now, more than ever before, acknowledge the various and often antagonistic influences and energies that go to make it up: we are faced, not so much with Southern culture really, as with Southern cultures.
A Companion to the Literature and Culture of the American South by Richard Gray, Owen Robinson