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Emblematic of the tensions that white southern women of the era
experienced between independent creative expression and traditional
familial and community expectations.
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Selected Poems
Jennifer Horne-Roberts
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R221
R181
Discovery Miles 1 810
Save R40 (18%)
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Ships in 9 - 15 working days
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The Precious Plum (Hardcover)
Jennifer Horn; Illustrated by Jennifer Horn
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R501
R437
Discovery Miles 4 370
Save R64 (13%)
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Ships in 10 - 15 working days
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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.
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.
"Tell the World You're a Wildflower" is a collection of loosely
interwoven stories in the voices of southern women and girls of
different ages and backgrounds. Beginning with the youngest
characters and ending with the oldest, the stories encompass
plastic surgery and white supremacists, family secrets and family
trees, the United Daughters of the Confederacy and a young writer
who describes her work in progress as "the bastard love-child of
William Faulkner and Alice Walker."
In "Tell the World You're a Wildflower, " each character must
decide what to tell, whether to tell it, and to whom to tell it.
Each struggles with questions of identity and truth, trying to
understand who she is and what holds true for her. Some tell their
stories plainly, directly, others more obliquely, nesting one
within another. Anchored in the tradition of southern storytelling,
these women contend with loss, change, and growth while going to
church, school, and prison, navigating love and sex, and worrying
too much about what people might think.
Yet these women generally refuse to behave, and they wander in and
out of each other's stories just like people do in small towns
across the South. Small town lives are always interconnected: your
third-grade teacher is your new neighbor's aunt and the boy you
dated your senior year falls from political grace after being
caught in a hot tub with your second cousin. Though they may have
had little say in where they were planted, Horne's protagonists
nevertheless do their best to bloom.
Rich, multifaceted, and unforgettable, "Tell the World You're a
Wildflower" is the work of a veteran explorer of the twentieth and
twenty-first century South. Horne's quest to understand her culture
through decades of reading and observing has now yielded these
narratives that imaginatively and insightfully enter the hearts and
minds of southern women.
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