The Romance of Regionalism in the Work of F. Scott and Zelda Fitzgerald: The South Side of Paradise explores resonances of "Southernness" in works by American culture's leading literary couple. At the height of their fame, F. Scott and Zelda Fitzgerald dramatized their relationship as a romance of regionalism, as the charming tale of a Northern man wooing a Southern belle. Their writing exposes deeper sectional conflicts, however: from the seemingly unexorcisable fixation with the Civil War and the historical revisionism of the Lost Cause to popular culture's depiction of the South as an artistically deprived, economically broken backwater, the couple challenged early twentieth-century stereotypes of life below the Mason-Dixon line. From their most famous efforts (The Great Gatsby and Save Me the Waltz) to their more overlooked and obscure (Scott's 1932 story "Family in the Wind," Zelda's "The Iceberg," published in 1918 before she even met her husband), Scott and Zelda returned obsessively to the challenges of defining Southern identity in a country in which "going south" meant decay and dissolution. Contributors to this volume tackle a range of Southern topics, including belle culture, the picturesque and the Gothic, Confederate commemoration and race relations, and regional reconciliation. As the collection demonstrates, the Fitzgeralds' fortuitous meeting in Montgomery, Alabama, in 1918 sparked a Southern renascence in miniature.

Emblematic of the tensions that white southern women of the era experienced between independent creative expression and traditional familial and community expectations.

This book covers in unmatched detail the life history, relationships, biology, and conservation of all the world's toucans, barbets, and honeyguides. These number 133 species, found in tropical regions around the world. The toucans are especially well-known because of their dramatic bills and their association with the Amazon rainforest. The authors have been working with these birds for over 20 years, and their knowledge and expertise in these groups is unrivalled. Much of the information in this book has never previously been published. The color plates, painted by well-known US artist Albert Earl Gilbert, are probably the best paintings of these birds ever produced.

The Barcalounger Cowboys of St. Columcille's met for the first time over a decade ago. When we started, we were all teachers...not so anymore. When we started, some of us were married and some of us were single; while that is still the same, it is now in a different combination (although, to clarify, we have not married each other). When we started, there was simply one child among us...now there are eight, perhaps nine or ten, if the rumors are right. And what do we write for? We write for ourselves, we write for each other, we write to receive the occasional rejection letter, we write to connect in the world. And we laugh...a lot.

A loamy volume of verse thematically inspired, Working the Dirt celebrates Southerners' connection to the land. The selected poems share themes of gardening, farming, and the rich Southern soil. The approximately one hundred poets, known and lesser known, living and dead, include: Fred Chappell, Walter McDonald, A. R. Ammons, Robert Morgan, Wendell Berry, Henry Taylor, Tom Dent, Jesse Stuart, Jim Wayne Miller, Ellen Bryant Voigt, Marion Montgomery, James Whitehead, C. D. Wright, George Scarbrough, Ahmos Zu-Bolton II, Thad Stem, Jr., William Sprunt, Donald Justice, Thomas Rabbitt, James Dickey, Rick Lott, John Allison, Edwin Godsey, Richard Jackson, Nikki Giovanni, Alvin Aubert, Margaret Walker, Emily Hiestand, Robert Gibbons, John Stone, Coppie Green, Bonnie Roberts, Coleman Barks, Anne George, Edward Eaton, Margaret Gibson, Naomi Shihab Nye, Jack Butler, R. H. W. Dillard, George Scarbrough, Jane Gentry, Rodney Jones, Dannye Romine, Miller Williams, George Garrett, Charles Edward Eaton, Sandra Agricola, Patricia Hooper, Gerald Barrax, Gibbons Ruark, Catherine Savage Brosman, Loretta Cobb, and Pattiann Rogers.

Emblematic of the tensions that white southern women of the era experienced between independent creative expression and traditional familial and community expectations.