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University Press of Mississippi 0
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New Orleans Sketches
In 1925 William Faulkner began his professional writing career in earnest while living in the French Quarter of New Orleans. He had published a volume of poetry (The Marble Faun), had written a few book reviews, and had contributed sketches to the University of Mississippi student newspaper. He had served a stint in the Royal Canadian Air Corps and while working in a New Haven bookstore had become acquainted with the wife of the writer Sherwood Anderson.In his first six months in New Orleans, where the Andersons were living, Faulkner made his initial foray into serious fiction writing. Here in one volume are the pieces he wrote while in the French Quarter. These were published locally in the Times-Picayune and in the Double Dealer, a "little magazine" based in New Orleans.New Orleans Sketches broadcasts seeds that would take root in later works. In their themes and motifs these sketches and stories foreshadow the intense personal vision and style that would characterize Faulkner's mature fiction. As his sketches take on parallels with Christian liturgy and as they portray such characters as an idiot boy similar to Benjy Compson, they reveal evidence of his early literary sophistication.In praise of New Orleans Sketches Alfred Kazin wrote in the New York Times Book Review that "the interesting thing for us now, who can see in this book the outline of the writer Faulkner was to become, is that before he had published his first novel he had already determined certain main themes in his work."In his trail-blazing introduction Carvel Collins, often called "Faulkner's best-informed critic," illuminates the period when the sketches were written as the time that Faulkner was making the transition from poet to novelist."For the reader of Faulkner," Paul Engle wrote in the Chicago Tribune, "the book is indispensable. Its brilliant introduction . . . is full both of helpful information . . . and of fine insights." "We gain something more than a glimpse of the mind of a young g
After Southern Modernism
A provocative reckoning of the challenging new direction southern literature has taken in the works of nine authorsThe literature of the contemporary South might best be understood for its discontinuity with the literary past. At odds with traditions of the Southern Renascence, southern literature of today sharply refutes the Nashville Agrarians and shares few of Faulkner's and Welty's concerns about place, community, and history.This sweeping study of the literary South's new direction focuses on nine well established writers who, by breaking away from the firmly ensconced myths, have emerged as an iconoclastic generation- — Harry Crews, Dorothy Allison, Bobbie Ann Mason, Larry Brown, Kaye Gibbons, Randall Kenan, Richard Ford, Cormac McCarthy, and Barry Hannah. Resisting the modernist methods of the past, they have established their own postmodern ground beyond the shadow of their predecessors.This shift in authorial perspective is a significant indicator of the future of southern writing. Crews's seminal role as a ground-breaking "poor white" author, Mason's and Crews's portrayals of rural life, and Allison's and Brown's frank portrayals of the lower class pose a challenge to traditional depictions of the South. The dissenting voices of Gibbons and Kenan, who focus on gender, race, and sexuality, create fiction that is at once identifiably "southern" and also distinctly subversive. Gibbons's iconoclastic stance toward patriarchy, like the outsider's critique of community found in Kenan's work, proffers a portrait of the South unprecedented in the region's literature. Ford, McCarthy, and Hannah each approach the South's traditional notions of history and community with new irreverence and treat familiar southern topics in a distinctly postmodern manner. Whether through Ford's generic consumer landscape, the haunted netherworld of McCarthy's southern novels, or Hannah's riotous burlesque of the Civil War, these authors assail the philosophical and cultural foundatio
Courtship and Love among the Enslaved in North Carolina
Through an examination of various couples who were forced to live in slavery, Rebecca J. Fraser argues that slaves found ways to conduct successful courting relationships. In its focus on the processes of courtship among the enslaved, this study offers further insight into the meanings that structured intimate lives.Establishing their courtships, often across plantations, the enslaved men and women of antebellum North Carolina worked within and around the slave system to create and maintain meaningful personal relationships that were both of and apart from the world of the plantation. They claimed the right to participate in the social events of courtship and, in the process, challenged and disrupted the southern social order in discreet and covert acts of defiance.Informed by feminist conceptions of gender, sexuality, power, and resistance, the study argues that the courting relationship afforded the enslaved a significant social space through which they could cultivate alternative identities to those which were imposed upon them in the context of their daily working lives.Rebecca J. Fraser is lecturer in American studies at the University of East Anglia. Her essays have appeared in Journal of Southern History and Slavery and Abolition.
Prejudice Across America
The experiences of a teacher and his white students on a nationwide trek toward racial understandingIn 1998 James Waller took twenty-one white college students from Washington state on a month-long journey. Prejudice Across America is the record of their interaction with the American Indian, Asian American, African American, Hispanic, and Jewish experiences nationwide. Few books have so directly and humanly captured the moment when whites confront the realities of those living as a minority in America.Waller reports here on this innovative and award-winning trek. In Los Angeles, San Francisco, Chicago, Memphis, New Orleans, Birmingham, Atlanta, and Washington, D.C., his students hear both the official story of prejudice and the street story from people living and dealing with racism on a daily basis. Prejudice Across America is as much the journal of these travelers and what they face as it is a sweeping, up-close survey of the nation's racial landscape.The students walk the cheerless halls of a South Side housing project in Chicago, experience the agitated aftermath of the Olympic Games in Atlanta, and attend a briefing with President Clinton's Initiative on Race. All along the way, they hold wide-ranging group discussions and experience the unpredictable adventure of traveling by train, plane, and public transit.Drawing on student journals and on interviews with community leaders and activists throughout the country, Waller paints a compelling and provocative portrait of the nation's prejudice. In addition, Prejudice Across America includes analyses of the obstacles to reconciliation in each of the cities on the tour's itinerary.As they travel, students confront the thorny issues of race in America, face down stereotypical thoughts, prejudicial attitudes and discriminatory behaviors, and uncover more tough questions than easy answers. As Waller and another group of students prepare for a similar trek in 2001, Prejudice Across America will allow readers to join the
The Brazilian berimbau, a musical bow, is most commonly associated with the energetic martial art/dance/game of capoeira. This study explores the berimbau's stature from the 1950s to the present in diverse musical genres including bossa nova, samba-reggae, MPB (Popular Brazilian Music), electronic dance music, Brazilian art music, and more. Berimbau music spans oral and recorded historical traditions, connects Latin America to Africa, juxtaposes the sacred and profane, and unites nationally constructed notions of Brazilian identity across seemingly impenetrable barriers.The Berimbau: Soul of Brazilian Music is the first work that considers the berimbau beyond the context of capoeira, and explores the bow's emergence as a national symbol. Throughout, this book engages and analyzes intersections of musical traditions in the Black Atlantic, North American popular music, and the rise of global jazz. This book is an accessible introduction to Brazilian music for musicians, Latin American scholars, capoeira practitioners, and other people who are interested in Brazil's music and culture.
British comics writer Alan Moore (b. 1953) has a reputation for equal parts brilliance and eccentricity. Living hermit-like in the same Midlands town for his entire life, he supposedly refuses contact with the outside world while creating his strange, dense comics, fiction, and performance art. While Moore did declare himself a wizard on his fortieth birthday and claims to have communed with extradimensional beings, reticence and seclusion have never been among his eccentricities. On the contrary, for long stretches of his career Moore seemed to be willing to chat with all comers: fanzines, industry magazines, other artists, newspapers, magazines, and personal websites. Well over one hundred interviews in the past thirty years serve as testimony to Moore's willingness to be engaged in productive conversation.Alan Moore: Conversations includes ten substantial interviews, beginning with Moore's first published conversation, conducted by V for Vendetta cocreator David Lloyd in 1981. The remainder cover nearly all of his major works, including Watchmen, V for Vendetta, Swamp Thing, Marvelman, The League of Extraordinary Gentlemen, Promethea, From Hell, Lost Girls, and the unfinished Big Numbers.While Moore's personal life and fraught business relations are discussed occasionally, the interviews chosen are principally devoted to Moore's creative practices and techniques, along with his shifting social, political, and philosophical beliefs. As such, Alan Moore: Conversations should add to any reader's enjoyment and understanding of Moore's work.
A concise overview of this complex affliction for all those affected by addiction — addicts, family members, and even employersAt least one of every four people in America has had some experience with addiction — either personally or through a family member. Addiction and its consequences cost billions of dollars each year in direct medical costs, lost productivity, accidents, crime, and corruption. Yet as a disease, addiction is still largely misunderstood.Starting with the question "what is addiction?" Elizabeth Connell Henderson takes the reader through the many facets of this disorder. She examines the effects of addictive substances on the brain and reviews each of the major classes of substances. In the development of addiction, she looks at the genetic, social, and psychological factors.Henderson shows the effects of addiction on the family and guides the reader on a journey through the course of the illness and the process of recovery. Additional chapters deal with the problems associated with dual diagnosis — when addiction is accompanied by other psychiatric illnesses. Also chapters cover behavioral addictions such as compulsive overeating, pathological gambling, and sexual addiction.Covered are: Who becomes addicted and why?What are the properties of the major addictive drugs?What is the course of addiction?How does addiction affect the family?What constitutes recovery?What are the current trends in research?What organizations are available for help and how are they contacted? For the addict in recovery and for the family of the afflicted, Understanding Addiction provides crucial information to demystify this disease and provide clear guidance toward recovery. For human resource workers, attorneys, social workers, nurses, corrections officers, school counselors, and teachers, the book provides a framework of practical information for aiding individual sufferers and coping with their unique struggles.Elizabeth Connell Henderson is a clinical assistant prof
The Fugitive Race
Denying its formative dialogues with minorities, the white race, Stephen P. Knadler contends, has been a fugitive race. While the "white question," like the "Negro question," and the "woman question" a century earlier, has garnered considerable critical attention among scholars looking to find new anti-race strategies, these investigations need to highlight not just the exclusion of people of color, but also examine minority writers' resistance to and disruption of this privileged racial category."Highly original, wonderfully detailed, and thought provoking," says Professor Candace Waid of Knadler's intellectually challenging book.Although excluded, people of color looked back in anger, laughter, and wisdom to challenge the unexamined lie of a self-evident whiteness. Looking at fictional and nonfictional texts written between 1850 and 1984, The Fugitive Race traces a long cultural and literary history of the ways African Americans, Asian Americans, Jewish Americans, Chicanos, gays, and lesbians have challenged the shape and meaning of so-called white identities.From the antebellum period to the 1980s, the belief in a white racial superiority, or simply a white difference, has denied that people of color might and do have an influence on the supposedly pure or protected character of whiteness. In contrast, this book attempts to define a new way of analyzing minority literature that questions this segregated color line. In addition to creating a new racial awareness, many writers of color tried to interfere in the historical formulation of whiteness. They created unsettling moments when white readers had to see themselves for the first time from the outside-in, or from the critical perspective of non-white writers. These writers—including William Wells Brown, Pauline Hopkins, Abraham Cahan, Young-hill Kang, Zora Neale Hurston, and Arturo Islas—did not simply resist assimilation. They sought to dismantle the white identities that lay as the foundation of the master's h
All Stories Are True
In All Stories Are True, Tracie Church Guzzio provides the first full-length study of John Edgar Wideman's entire oeuvre to date. Specifically, Guzzio examines the ways in which Wideman (b. 1941) engages with three crucial themes-history, myth, and trauma-throughout his career, showing how they intertwine. Guzzio argues that, for four decades, the influential African American writer has endeavored to create a version of the African American experience that runs counter to mainstream interpretations, using history and myth to confront and then heal the trauma caused by slavery and racism.Wideman's work intentionally blurs boundaries between fiction and autobiography, myth and history, particularly as that history relates to African American experience in his hometown of Pittsburgh, Pennsylvania. The fusion of fiction, national history, and Wideman's personal life is characteristic of his style, which-due to its complexity and smudging of genre distinctions-has presented analytic difficulties for literary scholars. Despite winning the PEN/Faulkner award twice, for Sent for You Yesterday (1984) and Philadelphia Fire (1990), Wideman remains under-studied.Of particular value is Guzzio's analysis of the many ways in which Wideman alludes to his previous works. This intertextuality allows Wideman to engage his books in direct, intentional dialogue with each other through repeated characters, images, folktales, and songs. In Wideman's challenging of a monolithic view of history and presenting alternative perspectives to it, and his allowing past, present, and future time to remain fluid in the narratives, Guzzio finds an author firm in his notion that all stories and all perspectives have merit.
One of the most eclectic and distinctive writers currently working in comics, Grant Morrison (b. 1960) brings the auteurist sensibility of alternative comics and graphic novels to the popular genres-superhero, science fiction, and fantasy-that dominate the American and British comics industries. His comics range from bestsellers featuring the most universally recognized superhero franchises (All-Star Superman, New X-Men, Batman) to more independent, creator-owned work (The Invisibles, The Filth, We3) that defies any generic classification.In Grant Morrison: Combining the Worlds of Contemporary Comics, author Marc Singer examines how Morrison uses this fusion of styles to intervene in the major political, aesthetic, and intellectual challenges of our time. His comics blur the boundaries between fantasy and realism, mixing autobiographical representation and cultural critique with heroic adventure. They offer self-reflexive appraisals of their own genres while they experiment with the formal elements of comics. Perhaps most ambitiously, they challenge contemporary theories of language and meaning, seeking to develop new modes of expression grounded in comics' capacity for visual narrative and the fantasy genres' ability to make figurative meanings literal.
Witness to Reconstruction
In the wake of the Civil War, Constance Fenimore Woolson became one of the first northern observers to linger in the defeated states from Virginia to Florida. Born in New Hampshire in 1840 and raised in Ohio, she was the grandniece of James Fenimore Cooper and was gaining success as a writer when she departed in 1873 for St. Augustine. During the next six years, she made her way across the South and reported what she saw, first in illustrated travel accounts and then in the poetry, stories, and serialized novels that brought unsettled social relations to the pages of Harper's Monthly, the Atlantic, Scribner's Monthly, Appletons' Journal, and the Galaxy. In the midst of Reconstruction and in print for years to come, Woolson revealed the sharp edges of loss, the sharper summons of opportunity, and the entanglements of northern misperceptions a decade before the waves of well-heeled tourists arrived during the 1880s.This volume's sixteen essays are intent on illuminating, through her example, the neglected world of Reconstruction's backwaters in literary developments that were politically charged and genuinely unpredictable. Drawing upon the postcolonial and transnational perspectives of New Southern Studies, as well as the cultural history, intellectual genealogy, and feminist priorities that lend urgency to the portraits of the global South, this collection investigates the mysterious, ravaged territory of a defeated nation as curious northern readers first saw it.
The Starday Story
The Starday Story: The House That Country Music Built is the first book entirely dedicated to one of the most influential music labels of the twentieth century. In addition to creating the largest bluegrass catalogue throughout the 1950s and '60s, Starday was also known for its legendary rockabilly catalogue, an extensive Texas honky-tonk outpouring, classic gospel and sacred recordings, and as a Nashville independent powerhouse studio and label.Written with label president and co-founder Don Pierce, this book traces the label's origins in 1953 through the 1968 Starday-King merger. Interviews with artists and their families, employees, and Pierce contribute to the stories behind famous hit songs, including "Y'all Come," "A Satisfied Mind," "Why Baby Why," "Giddy-up Go," "Alabam," and many others. Gibson's research and interviews also shed new light on the musical careers of George Jones, Arlie Duff, Willie Nelson, Roger Miller, the Stanley Brothers, Cowboy Copas, Red Sovine, and countless other Starday artists. Conversations with the children of Pappy Daily and Jack Starns provide a unique perspective on the early days of Starday, and extensive interviews with Pierce offer an insider glance at the country music industry during its golden era.Weathering through the storm of rock and roll and, later, the Nashville Sound, Starday was a home to traditional country musicians and became one of the most successful independent labels in American history. Ultimately, The Starday Story is the definitive record of a country music label that played an integral role in preserving our nation's musical heritage.
As children wrestle with culture through their games, recess itself has become a battleground for the control of children's time. Based on dozens of interviews and the observation of over a thousand children in a racially integrated, working-class public school, Recess Battles is a moving reflection of urban childhood at the turn of the millennium. The book debunks myths about recess violence and challenges the notion that schoolyard play is a waste of time. The author videotaped and recorded children of the Mill School in Philadelphia from 1991 to 2004 and asked them to offer comments as they watched themselves at play. These sessions in Recess Battles raise questions about adult power and the changing frames of class, race, ethnicity, and gender. The grown-ups' clear misunderstanding of the complexity of children's play is contrasted with the richness of the children's folk traditions.Recess Battles is an ethnographic study of lighthearted games, a celebratory presentation of children's folklore and its conflicts, and a philosophical text concerning the ironies of everyday childhood. Rooted in video micro-ethnography and the traditions of theorists such as Bourdieu, Willis, and Bateson, Recess Battles is written for a lay audience with extensive academic footnotes. International scholar Dr. Brian Sutton-Smith contributes a foreword, and the children themselves illustrate the text with black and white paintings.
Hunting wild boar is a keenly held tradition in the Mississippi Delta. Fraught with danger, it challenges the hunter, observer, wildlife enthusiast, and landowner alike. Panther Tract is an insider's observance of extraordinary hunting, southern hospitality, camaraderie, and the love of dogs, horses, and hair raising excitement. The over 160 photographs are representative of a "day at the hunt," starting at dawn and ending well after dark. The tales center on vivid hunting experiences, both at Panther Tract, a large wilderness paradise in Yazoo County, owned by legendary southern gentleman Howard Brent, and in other locations in the Mississippi Delta. The narratives come from men, women, doctors, lawyers, judges, businessmen, politicians, farmers, sharecroppers' sons, and even a Hollywood screenwriter.Melody Golding's photographs focus on the Delta landscape and on the people and animals involved in the hunt. Portraits of the hunters, and their interactions with one another and their dogs and horses, fascinate. An award-winning photographer and an expert horsewoman, Golding brings a knowledgeable and critical eye to these images. The stories she collects range from traditional often humorous hunting tales to more serious accounts of the history of hog hunting in America. Hank Burdine, a Mississippi native and hunter who has written for many statewide publications, lends a broad vision to the history, statistics, and lore of hunting wild hogs. An appendix features hunt recipes by Chef John Folse and philosophy on the stewardship of harvesting the hog. A colorful and diverse assemblage of beautiful photographs and tales, this book reveals a treasured regional tradition.
Intellectual, cultural, and film historians have long considered neorealism the founding block of post-World War II Italian cinema. Neorealism, the traditional story goes, was an Italian film style born in the second postwar period and aimed at recovering the reality of Italy after the sugarcoated moving images of Fascism. Lasting from 1945 to the early 1950s, neorealism produced world-renowned masterpieces such as Roberto Rossellini's Roma, città aperta (Rome, Open City, 1945) and Vittorio De Sica's Ladri di biciclette (Bicycle Thieves, 1947). These films won some of the most prestigious film awards of the immediate postwar period and influenced world cinema.This collection brings together distinguished film scholars and cultural historians to complicate this nation-based approach to the history of neorealism. The traditional story notwithstanding, the meaning and the origins of the term are problematic. What does neorealism really mean, and how Italian is it? Italian filmmakers were wary of using the term and Rossellini preferred "realism." Many filmmakers confessed to having greatly borrowed from other cinemas, including French, Soviet, and American.Divided into three sections, Global Neorealism examines the history of this film style from the 1930s to the 1970s using a global and international perspective. The first section examines the origins of neorealism in the international debate about realist esthetics in the 1930s. The second section discusses how this debate about realism was "Italianized" and coalesced into Italian "neorealism" and explores how critics and film distributors participated in coining the term. Finally, the third section looks at neorealism's success outside of Italy and examines how film cultures in Latin America, Asia, and the United States adjusted the style to their national and regional situations.
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