In this stimulating collection of essays, twenty scholars apply new theoretical approaches to the fiction and poetry of southern writers ranging from Poe to Dickey, from Faulkner to Hurston. Departing from earlier traditions of southern literary scholarship, this book seeks not to create a new orthodoxy but to suggest the diversity of critical tools that can now be used to explore the literature and culture of the South. Including essays based on deconstructionist, feminist, and Marxist theory, the book features contributions from such critics as Henry Louis Gates, Harold Bloom, Fred Chappell, and Joan DeJean. Yet, for all their variety, the essayists share the same central concern. ""We have in common,"" writes Jefferson Humphries, ""one thing that sets us apart from our elders in our conception of the South and our approach to southern literature: the basic assumption that the meaning and significance of literature is not in the immanence of the literary object, or in history, but in the complex ways in which the literary, the historical, and all the 'human sciences' that study both, are interrelated."" Instead of simply taking ""the South"" for granted, the contributors to this volume see it as a text and an idea - as something whose ideological underpinnings, complexities, and contradictions must be subjected to close reading and questioning. Southern Literature and Literary Theory represents a major effort to redefine the relationship of southern writing and the South itself to the larger world.

The New South--replete with shopping malls, hub airports, educated African Americans, and immigrants from Vietnam, Cambodia, and Haiti--is still haunted by the Gothic ghosts of its past. Does the collision between past and present account for the continued preeminence of Southern writers in America's literary culture? Bobbie Ann Mason, Ernest Gaines, Rita Mae Brown, Robert Olen Butler, Cormac McCarthy, Dorothy Allison, and Allan Gurganus are just a few of the writers who draw on a new kind of Southern background while reaching out to a broad American readership. Yet many of these writers have been accused of catering to the stereotypes they think a national audience requires. It would seem that questions of Southern identity continue to be bound up with rage against attacks on Southern culture.
Jefferson Humphries and John Lowe have assembled a remarkable team of scholars and writers to examine aspects of the contemporary literature of the South. From Pulitzer Prize-winning writer Fred Hobson to esteemed scholar James Olney to poets Kate Daniels and Brenda Marie Osbey, the contributors try to define Southern culture today and ask who will be writing Southern literature tomorrow. Addressing topics such as humor, the past, black autobiography, ethnicity, and female oral traditions, the essays form a volume that is of interest to readers of Southern literature and history, creative writers, and scholars and students of Southern culture.

The New South--replete with shopping malls, hub airports, educated African Americans, and immigrants from Vietnam, Cambodia, and Haiti--is still haunted by the Gothic ghosts of its past. Does the collision between past and present account for the continued preeminence of Southern writers in America's literary culture? Bobbie Ann Mason, Ernest Gaines, Rita Mae Brown, Robert Olen Butler, Cormac McCarthy, Dorothy Allison, and Allan Gurganus are just a few of the writers who draw on a new kind of Southern background while reaching out to a broad American readership. Yet many of these writers have been accused of catering to the stereotypes they think a national audience requires. It would seem that questions of Southern identity continue to be bound up with rage against attacks on Southern culture.
Jefferson Humphries and John Lowe have assembled a remarkable team of scholars and writers to examine aspects of the contemporary literature of the South. From Pulitzer Prize-winning writer Fred Hobson to esteemed scholar James Olney to poets Kate Daniels and Brenda Marie Osbey, the contributors try to define Southern culture today and ask who will be writing Southern literature tomorrow. Addressing topics such as humor, the past, black autobiography, ethnicity, and female oral traditions, the essays form a volume that is of interest to readers of Southern literature and history, creative writers, and scholars and students of Southern culture.

Why do Americans, and so often, American writers, profess moral sentiments and yet write so little in the traditionally "moralistic" genres of maxim and fable? What is the relation between "moral" concerns and literary theory? Can any sort of morality survive the supposed nihilism of deconstruction? Jefferson Humphries undertakes a discussion of questions like these through a comparative reading of the ways in which moral issues surface in French and American literature. Humphries takes issue with the "amoral" view of deconstruction espoused by many of its detractors, arguing that the debate between the theory's advocates and opponents comes down to two opposing literary and moral traditions. While the American tradition views morality as a rigid system capable of being enforced by injunctions along the lines of "Thou shalt" and "Thou shalt not," the French tradition conceives of morality as a function of a relentless and unsentimental pursuit of truth, and finally, an admission that "truth" is not a static thing, but rather an ongoing process of rigorous thought.

In this collection of essays, 20 scholars apply new theoretical approaches to the fiction and poetry of southern writers ranging from Poe to Dickey, from Faulkner to Hurston. Departing from earlier traditions of southern literary scholarship, this book seeks not to create a new orthodoxy but to suggest the diversity of critical tools that can now be used to explore the literature and culture of the South. Instead of simply taking ""the South"" for granted, the contributors to this volume see it as a text and an idea - as something whose ideological underpinnings, complexities, and contradictions must be subjected to close reading and questioning. ""Southern Literature and Literary Theory"" represents a major effort to redefine the relationship of Southern writing and the South itself to the larger world.

Interviews with the famed southern novelist and commentator

On August 10, 1856, the Gulf of Mexico reared up and hurled itself over Last Island, near New Orleans. The storm essentially split the island in half and swept much of it away, including its inhabitants, wealthy vacationers, and its resort hotel. There were few survivors. Lafcadio Hearn used these basic historical facts to create Chita. Originally published in 1889, this novella is a minor masterpiece that is by turns mysterious, mesmerizing, and tragic. In the aftermath of the storm, a Spanish fisherman wades into the Gulf to pick through debris. Among the bodies, he finds one that is yet alive, a young Creole girl. Her parents are presumed to have died in the storm. Raised by the fisherman's family, Chita grows into a strong, independent young woman. Her story is counterpointed by that of her lost father, a doctor who thinks that his daughter is dead and, as a result, devotes himself to helping others in need. When he comes to Last Island to help stem a yellow fever epidemic, he encounters Chita. The consequences are devastating. This beautifully lush, ornately styled tale of south Louisiana in the nineteenth century is a haunting novel that is both impressionistic in its evocation of nature and realistic in its characterizations and depictions of life in this region. Jefferson Humphries's introduction puts Chita in perspective, gives an overview of critical reactions to the novel from its initial publication to the present, and provides a capsule biography of Hearn and a commentary on the stylistic influences on his work.

Collections of interviews with notable modern writers