This volume gathers personal recollections by fifteen eminent historians of the American South. Coming from distinctive backgrounds, traveling diverse career paths, and practicing different kinds of history, the contributors exemplify the field's richness on many levels. As they reflect on why they joined the profession and chose their particular research specialties, these historians write eloquently of family and upbringing, teachers and mentors, defining events and serendipitous opportunities. The struggle for civil rights was the defining experience for several contributors. Peter H. Wood remembers how black fans of the St. Louis Cardinals erupted in applause for the Dodgers' Jackie Robinson. ""I realized for the first time,"" writes Wood, ""that there must be something even bigger than hometown loyalties dividing Americans."" Gender equality is another frequent concern in the essays. Anne Firor Scott tells of her advisor's ridicule when childbirth twice delayed Scott's dissertation: ""With great effort I managed to write two chapters, but Professor Handlin was moved to inquire whether I planned to have a baby every chapter."" Yet another prominent theme is the reconciliation of the professional and the personal, as when Bill C. Malone traces his scholarly interests back to ""the memories of growing up poor on an East Texas cotton farm and finding escape and diversion in the sounds of hillbilly music."" Always candid and often witty, each essay is a road map through the intellectual terrain of southern history as practiced during the last half of the twentieth century.

Vividly rendering the sights, sounds, smells, and sensations of a bygone rural south, these closely connected stories revolve around the sometimes tragic lives of a black farming couple, Killdee and Rose Pinesett. When it first appeared in the 1920s, Green Thursday's unsentimental portrayal of African Americans was startlingly ahead of its time - enough so to inspire hate mail from white Southerners accusing the author, herself white, of betraying her race. At the same time, however, Green Thursday was praised by reviewers and social observers from all quarters, including W. E. B. Du Bois, who called it "a beautiful book".

Ballots and Fence Rails recounts the struggle to reshape the post-Civil War society of the lower Cape Fear River in North Carolina, the Confederacy's last outlet to the sea. Focusing on events in the port city of Wilmington and its rural environs, William McKee Evans ranges in time from the region's occupation by Union forces in 1865 to the end of Reconstruction in 1877. Evans shows that although social change was sought at the ballot box, it was just as often resisted in the streets, with one faction armed with pistols and sabers and another, at one point, armed mostly with fence rails. Drawing on his extensive knowledge of the region, Evans dramatically portrays the conflict as it was viewed by former slaves, southern conservatives, carpetbaggers, and scalawags. Evans also clarifies many generalizations about Reconstruction that are often empty or unsubstantiated, showing that the right to vote cannot alone diffuse political power and that Reconstruction at the local level often differed from Reconstruction at the state level. First published in 1967, when local history was still viewed as parochial or less important than national history, Evans's work is now considered pioneering. In his foreword Charles Joyner writes that "by seeking the universal in the particular, by pursuing large questions in his small place, William McKee Evans in Ballots and Fence Rails makes an important and distinctive contribution to the historical discipline.

"Ain't You Got a Right to the Tree of Life?" presents an oral, musical, and photographic record of the venerable Gullah culture in modern times. With roots stretching back to their slave forebears, the Johns Islanders and their folk traditions are a vital link between black Americans and their African and Caribbean ancestors.

When first published in 1966, this book conveyed islanders' trepidation and jubilation upon the arrival of the civil rights movement to their isolated home. In this edition, which is updated through the late 1980s, the stories and songs of an older day blend with the voices of an empowered younger generation determined to fight the overdevelopment of their land by resort builders.

A Woman Rice Planter offers insights into a broad spectrum of Southern life after the Civil War. As an account of a woman's struggle for survival and dignity in a distinctly male-dominated society, it contributes significantly to women's history. It presents a rich portrait of a distinctive place--the South Carolina Low Country--in a troubled and generally undocumented time, a portrait made all the more vivid by the fine pen-and-ink sketches of Charleston artist Alice R. Huger Smith. Elizabeth Alston Pringle was the daughter of Robert Francis Withers Allston, a state legislator and governor, who was at one time owner of seven plantations but bankrupt at the time of his death. Left to struggle for income to regain the property and position the family held prior to the war, Pringle turned to writing and eventually published a column on Southern culture in the New York Sun under the pseudeonym Patience Pennington. In 1913 she collected and reshaped these newspaper columns and compiled them into one volume, A Woman Rice Planter, a best-selling book that reduced her financial worries. Her descriptions of the vagaries of rice planting, of her relationships with former slaves and the first generation of free-born African Americans, and of her life in the early Reconstruciton period are important to our understanding of the prevailing attitudes and persistence of the Old South in the New. The volume was illustrated by Alice R. Huger Smith (1876-1958), an American painter and printmaker. This edition features an introduction by Charles Joyner (1935-2016), distinguished professor emeritus of southern history and culture at Coastal Carolina University and author of several books, including Down by the Riverside: A South Carolina Slave Community.

"When Roots Die" celebrates and preserves the venerable Gullah culture of the sea islands of the South Carolina and Georgia coast. Entering into communities long isolated from the world by a blazing sun and salt marshes, Patricia Jones-Jackson captures the cadence of the storyteller lost in the adventures of "Brer Rabbit," records voices lifted in song or prayer, and describes folkways and beliefs that have endured, through ocean voyage and human bondage, for more than two hundred years.