Who or what is an American? Many scholars have recently argued that in a country of such vast cultural and ethnic diversity as the United States it is not useful or even possible to talk of a single national identity. Are people right to suggest that the very idea of Americanness is merely a myth designed to obscure the divisions among us? This is the central question addressed by Tim Parrish in this imaginative interdisciplinary study. Working in the tradition of the blues, an art form based on the adaptation of cultural past to present, Parrish seeks to show what happens when we think of American identity not as some transcendental entity or essence, but as an ongoing process. At the core of his analysis is an appreciation of the rich legacy of pragmatism, a distinctly American frame of mind that sees truth as an act rather than an object, as a matter of doing rather than being. While the philosophical roots of pragmatism can be found in the writings of Ralph Waldo Emerson, William and Henry James, and Horace Kallen, the same intellectual approach informs the work of writers such as Ralph Ellison, Mary Antin, and Philip Roth as well as creative artists such as Son House, Elvis Presley, and James Brown. What all of these figures share, according to Parrish, is a recognition of the intrinsic connection between thought and action that has allowed Americans to define who they are through what they do. Walking Blues accounts for our cultural diversity without either insisting that we are all the same or denying that we have anything in common. Far from glossing over difference, Parrish shows how our American social, racial, and ethnic conflicts often mark the starting point for the various acts of creation through which we make--and remake--ourselves as Americans.

"Fear and What Follows" is a riveting, unflinching account of the author's spiral into racist violence during the latter years of desegregation in 1960s and 1970s Baton Rouge. About the memoir, author and editor Michael Griffith writes, "This might be a controversial book, in the best way--controversial because it speaks to real and intractable problems and speaks to them with rare bluntness."

The narrative of Parrish's descent into fear and irrational behavior begins with bigotry and apocalyptic thinking in his Southern Baptist church. Living a life upon this volatile foundation of prejudice and apprehension, Parrish feels destabilized by his brother going to Vietnam, his own puberty and restlessness, serious family illness, and economic uncertainty. Then a near-fatal street fight and subsequent stalking by an older sociopath fracture what security is left, leaving him terrified and seemingly helpless.

Parrish comes to believe that he can only be safe by allying himself with brute force. This brute influence is a vicious, charismatic racist. Under this bigot's terrible sway Parrish, turns to violence in the street and at school. He is even conflicted about whether he will help commit murder in order to avenge a friend. At seventeen he must reckon with all of this as his parents and neighbors grow increasingly afraid that they are "losing" their neighborhood to African Americans. "Fear and What Follows" is an unparalleled story of the complex roots of southern, urban, working-class racism and white flight, as well as a story of family, love, and the possibility of redemption.

"The Jumper" is an old-fashioned, modern novel both dark and funny. Its central character, Jimmy Strawhorn, grows up on a ranch in West Texas thinking he's an orphan but is summoned to Baton Rouge, where he discovers his past is stranger than he can imagine.
Jimmy tries to navigate his urge to jump from high places, his fear of falling in love, and a complex family history full of deceit and racial ambiguity. At the same time, two other eccentric main characters, named Sandra and J. T., deal with dangerous pasts and presents of their own as Jimmy's arrival alters their lives.
Winner of the 2012 George Garrett Prize for Fiction