When the United States entered World War I, parts of the country had developed industries, urban cultures, and democratic political systems, but the South lagged behind, remaining an impoverished, agriculture region. Despite New South boosterism, the culture of the early twentieth-century South was comparatively artistically arid. Yet, southern writers dominated the literary marketplace by the 1920s and 1930s. World War I brought southerners into contact with modernity before the South fully modernized. This shortfall created an inherent tension between the region's existing agricultural social structure and the processes of modernization, leading to distal modernism, a form of writing that combines elements of modernism to depict non-modern social structures. Critics have struggled to formulate explanations for the eruption of modern southern literature, sometimes called the Southern Renaissance. ,br> Pinpointing World War I as the catalyst, David A. Davis argues southern modernism was not a self-generating outburst of writing, but a response to the disruptions modernity generated in the region. In World War I and Southern Modernism, Davis examines dozens of works of literature by writers, including William Faulkner, Ellen Glasgow, and Claude McKay, that depict the South during the war. Topics explored in the book include contact between the North and the South, southerners who served in combat, and the developing southern economy. Davis also provides a new lens for this argument, taking a closer look at African Americans in the military and changing gender roles.

Scarlett O'Hara munched on a radish and vowed never to go hungry again. Vardaman Bundren ate bananas in Faulkner's Jefferson, and the Invisible Man dined on a sweet potato in Harlem. Although food and stories may be two of the most prominent cultural products associated with the South, the connections between them have not been thoroughly explored until now.

Southern food has become the subject of increasingly self-conscious intellectual consideration. The Southern Foodways Alliance, the Southern Food and Beverage Museum, food-themed issues of "Oxford American" and "Southern Cultures," and a spate of new scholarly and popular books demonstrate this interest. "Writing in the Kitchen" explores the relationship between food and literature and makes a major contribution to the study of both southern literature and of southern foodways and culture more widely.

This collection examines food writing in a range of literary expressions, including cookbooks, agricultural journals, novels, stories, and poems. Contributors interpret how authors use food to explore the changing South, considering the ways race, ethnicity, class, gender, and region affect how and what people eat. They describe foods from specific southern places such as New Orleans and Appalachia, engage both the historical and contemporary South, and study the food traditions of ethnicities as they manifest through the written word.

Driven to the Field traces the culture of sharecropping-crucial to understanding life in the southern United States-from Emancipation to the twenty-first century. By reading dozens of works of literature in their historical context, David A. Davis demonstrates how sharecropping emerged, endured for a century, and continues to resonate in American culture. Following the end of slavery, sharecropping initially served as an expedient solution to a practical problem, but it quickly developed into an entrenched power structure situated between slavery and freedom that exploited the labor of Blacks and poor whites to produce agricultural commodities. Sharecropping was the economic linchpin in the South's social structure, and the region's political system, race relations, and cultural practices were inextricably linked with this peculiar form of tenant farming from the end of the Civil War through the civil rights movement. Driven to the Field analyzes literary portrayals of this system to explain how it defined the culture of the South, revealing multiple genres of literature that depicted sharecropping, such as cotton romances, agricultural uplift novels, proletarian sharecropper fiction, and sharecropper autobiographies-important works of American literature that have never before been evaluated and discussed in their proper context.

Scarlett O'Hara munched on a radish and vowed never to go hungry again. Vardaman Bundren ate bananas in Faulkner's Jefferson, and the Invisible Man dined on a sweet potato in Harlem. Although food and stories may be two of the most prominent cultural products associated with the South, the connections between them have not been thoroughly explored until now. Southern food has become the subject of increasingly self-conscious intellectual consideration. The Southern Foodways Alliance, the Southern Food and Beverage Museum, food-themed issues of Oxford American and Southern Cultures, and a spate of new scholarly and popular books demonstrate this interest. Writing in the Kitchen explores the relationship between food and literature and makes a major contribution to the study of both southern literature and of southern foodways and culture more widely. This collection examines food writing in a range of literary expressions, including cookbooks, agricultural journals, novels, stories, and poems. Contributors interpret how authors use food to explore the changing South, considering the ways race, ethnicity, class, gender, and region affect how and what people eat. They describe foods from specific southern places such as New Orleans and Appalachia, engage both the historical and contemporary South, and study the food traditions of ethnicities as they manifest through the written word.

The New York Times praised Communist Party reporter John L. Spivak's shocking 1932 novel Georgia Nigger as having "the weight and authority of a sociological investigation." This Southern Classics edition makes Spivak's narrative available to modern readers, augmented with a new introduction by David A. Davis as well as additional documents Spivak gathered during his investigation into the abuses of the Depression-era Southern prison system.
Georgia Nigger exposes the institutionalized system of sharecropping, debt peonage, and exorbitant chain gang sentences that trapped many southern black men in a cycle of labor exploitation. Spivak (1897-1981) gained unlikely access to chain gangs through the Georgia Prison Commission, and his book combines elements of muckraking reportage and proletarian fiction to offer a sensational and damning case for prison reform.
The plot follows David Jackson, the son of black sharecroppers, who is released from a chain gang then almost immediately re-arrested and bound over to a white planter as a peon. Jackson escapes peonage only to be arrested again as a vagrant and sentenced to another chain gang. He tries to escape again with the help of an older inmate, but they are both captured and suffer torturous punishments. Spivak's novel has merit both as revealing historical account of sharecropping and chain gangs and as a compelling literary allegory of an individual confronted by sweeping social forces.
For Depression-era readers, Georgia Nigger provided outrage beyond its obvious depictions of inhumanity and torture. The book hinges on the crime of vagrancy, a charge often used to force into labor persons without obvious means of income. In this particular arrangement, being unemployed was a crime in itself, which allowed for the exploitation of the economically vulnerable. Like many writers and intellectuals of his era, Spivak sought to expose the abuses committed against the nation's most impoverished. His book combines elements of labor rabble-rousing, radical fiction, and documentary photography to depict the lives of black Southerners and to indict a flawed system of labor and justice.

These rich sermons are rooted in congregational life and steeped in Christian doctrine and the celebrations of the church year. A??Kingdom We Can Taste reflects one preacher's effort at leading a congregation through the seasons of Advent, Christmas, Epiphany, Lent, and Easter. David Davis uses a unique combination of resources ? select Old Testament texts, the Apostles' Creed, lectionary assignments, and more ? in his progression of sermons.

Readers who "listen" to these thirteen messages, or preaching conversations, will experience the gospel proclaimed and feel a comforting sense of belonging to the community of faith. This inspiring little volume is perfect for pastors preparing sermons of their own, seminary students looking for a model of good preaching, or laypeople wanting quality meditations to chew on.

Driven to the Field traces the culture of sharecropping-crucial to understanding life in the southern United States-from Emancipation to the twenty-first century. By reading dozens of works of literature in their historical context, David A. Davis demonstrates how sharecropping emerged, endured for a century, and continues to resonate in American culture. Following the end of slavery, sharecropping initially served as an expedient solution to a practical problem, but it quickly developed into an entrenched power structure situated between slavery and freedom that exploited the labor of Blacks and poor whites to produce agricultural commodities. Sharecropping was the economic linchpin in the South's social structure, and the region's political system, race relations, and cultural practices were inextricably linked with this peculiar form of tenant farming from the end of the Civil War through the civil rights movement. Driven to the Field analyzes literary portrayals of this system to explain how it defined the culture of the South, revealing multiple genres of literature that depicted sharecropping, such as cotton romances, agricultural uplift novels, proletarian sharecropper fiction, and sharecropper autobiographies-important works of American literature that have never before been evaluated and discussed in their proper context.

Winner of the 2018 Eudora Welty Prize. When the United States entered World War I, parts of the country had developed industries, urban cultures, and democratic political systems, but the South lagged behind, remaining an impoverished, agriculture region. Despite New South boosterism, the culture of the early twentieth-century South was comparatively artistically arid. Yet, southern writers dominated the literary marketplace by the 1920s and 1930s. World War I brought southerners into contact with modernity before the South fully modernized. This shortfall created an inherent tension between the region's existing agricultural social structure and the processes of modernization, leading to distal modernism, a form of writing that combines elements of modernism to depict non-modern social structures. Critics have struggled to formulate explanations for the eruption of modern southern literature, sometimes called the Southern Renaissance. Pinpointing World War I as the catalyst, David A. Davis argues southern modernism was not a self-generating outburst of writing, but a response to the disruptions modernity generated in the region. In World War I and Southern Modernism, Davis examines dozens of works of literature by writers, including William Faulkner, Ellen Glasgow, and Claude McKay, that depict the South during the war. Topics explored in the book include contact between the North and the South, southerners who served in combat, and the developing southern economy. Davis also provides a new lens for this argument, taking a closer look at African Americans in the military and changing gender roles.