A critical companion to the striking variety of contemporary southern literature. Contributions by Barbara Bennett, Thomas AErvold Bjerre, Erik Bledsoe, Linda Byrd Cook, Thomas E. Dasher, Robert Donahoo, Peter Farris, Richard Gaughran, William Giraldi, Rebecca Godwin, Joan Wylie Hall, Marcus Hamilton, Gary Hawkins, David K. Jeffrey, Emily Langhorne, Shawn E. Miller, Wade Newhouse, L. Lamar Nisly, bes Stark Spangler, Joe Samuel Starnes, and Scott Hamilton Suter. Essays in Rough South, Rural South describe and discuss the work of southern writers who began their careers in the late twentieth and early twenty-first centuries. They fall into two categories. Some, born into the working class, strove to become writers and learned without benefit of higher education, such writers as Larry Brown and William Gay. Others came from lower- or middle-class backgrounds and became writers through practice and education: Dorothy Allison, Tom Franklin, Tim Gautreaux, Clyde Edgerton, Kaye Gibbons, Silas House, Jill McCorkle, Chris Offutt, Ron Rash, Lee Smith, Brad Watson, Daniel Woodrell, and Steve Yarbrough. Their twenty-first-century colleagues are Wiley Cash, Peter Farris, Skip Horack, Michael Farris Smith, Barb Johnson, and Jesmyn Ward. In his seminal article, Erik Bledsoe distinguishes Rough South writers from such writers as William Faulkner and Erskine Caldwell. Younger writers who followed Harry Crews were born into and write about the Rough South. These writers undercut stereotypes, forcing readers to see the working poor differently. The next pieces begin with those on Crews and Cormac McCarthy, major influences on an entire generation. Later essays address members of both groups--the self-educated and the college-educated. Both groups share a clear understanding of the value of working-class southerners. Nearly all of the writers hold a reverence for the South's landscape and its inhabitants as well as an affinity for realistic depictions of setting and characters.

With contributions from Robert G. Barrier, Robert Beuka, Thomas A rvold Bjerre, Jean W. Cash, Robert Donahoo, Richard Gaughran, Gary Hawkins, Darlin' Neal, Keith Perry, Katherine Powell, John A. Staunton, and Jay Watson

Larry Brown is noted for his subjects--rural life, poverty, war, and the working class--and his spare, gritty style. Brown's oeuvre spans several genres and includes acclaimed novels ("Dirty Work," "Joe," "Father and Son," "The Rabbit Factory," and "A Miracle of Catfish"), short story collections ("Facing the Music," "Big Bad Love"), memoir ("On Fire"), and essay collections ("Billy Ray's Farm"). At the time of his death, Brown (1951-2004) was considered to be one of the finest exemplars of minimalist, raw writing of the contemporary South.

"Larry Brown and the Blue-Collar South" considers the writer's full body of work, placing it in the contexts of southern literature, Mississippi writing, and literary work about the working class. Collectively, the essays explore such subjects as Brown's treatment of class politics, race and racism, the aftereffects of the Vietnam War on American culture, the evolution of the South from a plantation-based economy to a postindustrial one, and male-female relations. The role of Brown's mentors--Ellen Douglas and Barry Hannah--in shaping his work is discussed, as is Brown's connection to such writers as Harry Crews and Dorothy Allison. The volume is one of the first critical studies of a writer whose depth and influence mark him as one of the most well-regarded Mississippi authors.

Jean W. Cash is professor of English at James Madison University. She is the author of "Flannery O'Connor: A Life." Keith Perry is associate professor of English at Dalton State College and the author of "The Kingfish in Fiction: Huey P. Long and the Modern American Novel." Rick Bass is the author of novels and collections of nonfiction and short stories, most recently "The Lives of Rocks: Stories.""

Essays in Rough South, Rural South describe and discuss the work of southern writers who began their careers in the late twentieth and early twenty-first centuries. They fall into two categories. Some, born into the working class, strove to become writers and learned without benefit of higher education, such writers as Larry Brown and William Gay. Others came from lower- or middle-class backgrounds and became writers through practice and education: Dorothy Allison, Tom Franklin, Tim Gautreaux, Clyde Edgerton, Kaye Gibbons, Silas House, Jill McCorkle, Chris Offutt, Ron Rash, Lee Smith, Brad Watson, Daniel Woodrell, and Steve Yarbrough. Their twenty-first-century colleagues are Wiley Cash, Peter Farris, Skip Horack, Michael Farris Smith, Barb Johnson, and Jesmyn Ward. In his seminal article, Erik Bledsoe distinguishes Rough South writers from such writers as William Faulkner and Erskine Caldwell. Younger writers who followed Harry Crews were born into and write about the Rough South. These writers undercut stereotypes, forcing readers to see the working poor differently. The next pieces begin with those on Crews and Cormac McCarthy, major influences on an entire generation. Later essays address members of both groups - the self-educated and the college-educated. Both groups share a clear understanding of the value of working-class southerners. Nearly all of the writers hold a reverence for the South's landscape and its inhabitants as well as an affinity for realistic depictions of setting and characters.

This book looks at British Politics in the 1760s and 1770s during the American Revolution. Perry looks particularly at colonialism and the colonial administration, and at the general conduct of the war with America. He also surveys the development of radialism in Britain subsequent to the war and looks at constitutional developments during this period in Britain and America.