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The Routledge Companion to Literature of the U.S. South provides a
collection of vibrant and multidisciplinary essays by scholars from
a wide range of backgrounds working in the field of U.S. southern
literary studies. With topics ranging from American studies,
African American studies, transatlantic or global studies,
multiethnic studies, immigration studies, and gender studies, this
volume presents a multi-faceted conversation around a wide variety
of subjects in U.S. southern literary studies. The Companion will
offer a comprehensive overview of the southern literary studies
field, including a chronological history from the U.S. colonial era
to the present day and theoretical touchstones, while also
introducing new methods of reconceiving region and the U.S. South
as inherently interdisciplinary and multi-dimensional. The volume
will therefore be an invaluable tool for instructors, scholars,
students, and members of the general public who are interested in
exploring the field further but will also suggest new methods of
engaging with regional studies, American studies, American literary
studies, and cultural studies.
Dear Regina offers a remarkable window into the early years of one
of America's best-known literary figures. While at the University
of Iowa Writer's Workshop from 1945 to 1948, Flannery O'Connor
wrote to her mother Regina Cline O'Connor (who she addressed by her
first name) nearly every day and sometimes more than once a day.
The complete correspondence of more than six hundred letters is
housed at the Stuart A. Rose Manuscript, Archives, and Rare Book
Library at Emory University. From that number, Miller selects 486
letters to show us a young adult learning to adjust to life on her
own for the first time. In these letters, O'Connor shares details
about living in a boardinghouse and subsisting on canned food and
hot-plate dinners, and she asks for advice about a wide range of
topics, including how to assuage her relatives' concerns about her
well-being and how to buy whiskey to use for cough medicine. These
letters, which are being published for the first time with the
unprecedented permission of the Mary Flannery O'Connor Charitable
Trust, also offer readers important insights into O'Connor's
intellectually formative years, when her ideas about writing, race,
class, and interpersonal relationships were developing and
changing. Her preoccupation with money, employment, and other
practical matters reveals a side of O'Connor that we do not often
see in her previously published letters. Most importantly, the
letters show us her relationship with her mother in a much more
intimate, positive light than we have seen before. The importance
of this aspect of the letters cannot be overstated, given that so
much literary analysis conflates her and Regina with the "sour,
deformed daughters and self-righteous mothers" that critic Louise
Westling sees so often in O'Connor's work.
In the South, one notion of ""being ugly"" implies inappropriate or
coarse behavior that transgresses social norms of courtesy. While
popular stereotypes of the region often highlight southern belles
as the epitome of feminine power, women writers from the South
frequently stray from this convention and invest their fiction with
female protagonists described as ugly or chastised for behaving
that way. Through this divergence, ""ugly"" can be a force for
challenging the strictures of normative southern gender roles and
marriage economies. In Being Ugly: Southern Women Writers and
Social Rebellion, Monica Carol Miller reveals how authors from
Margaret Mitchell to Monique Truong employ ""ugly"" characters to
upend the expectations of patriarchy and open up more possibilities
for southern female identity. Previous scholarship often conflates
ugliness with such categories as the grotesque, plain, or abject,
but Miller disassociates these negative descriptors from a group of
characters created by southern women writers. Focusing on how such
characters appear prone to rebellious and socially inappropriate
behavior, Miller argues that ugliness subverts assumptions about
gender by identifying those who are unsuitable for the expected
roles of marriage and motherhood. As opposed to familiar courtship
and marriage plots, Miller locates in fiction by southern women
writers an alternative genealogy, the ugly plot. This narrative
tradition highlights female characters whose rebellion offers a
space for re-imagining alternative lives and households in
opposition to the status quo. Reading works by canonical writers
like Zora Neale Hurston, Flannery O'Connor, and Eudora Welty, along
with recent texts by contemporary authors like Helen Ellis, Lee
Smith, and Jesmyn Ward, Being Ugly offers an important new
perspective on how southern women writers confront regressive
ideologies that insist upon limited roles for women.
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The Tacky South (Paperback)
Katharine A. Burnett, Monica Carol Miller; Scott Romine, Charles Reagan Wilson
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R930
Discovery Miles 9 300
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Ships in 12 - 17 working days
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As a way to comment on a person's style or taste, the word "tacky"
has distinctly southern origins, with its roots tracing back to the
so-called "tackies" who tacked horses on South Carolina farms prior
to the Civil War. The Tacky South presents eighteen fun, insightful
essays that examine connections between tackiness and the American
South, ranging from nineteenth-century local color fiction and the
television series Murder, She Wrote to red velvet cake and the
ubiquitous influence of Dolly Parton. Charting the gender, race,
and class constructions at work in regional aesthetics, The Tacky
South explores what shifting notions of tackiness reveal about US
culture as a whole and the role that region plays in addressing
national and global issues of culture and identity.
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The Tacky South (Hardcover)
Katharine A. Burnett, Monica Carol Miller; Scott Romine, Charles Reagan Wilson
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R2,233
Discovery Miles 22 330
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Ships in 12 - 17 working days
|
As a way to comment on a person's style or taste, the word "tacky"
has distinctly southern origins, with its roots tracing back to the
so-called "tackies" who tacked horses on South Carolina farms prior
to the Civil War. The Tacky South presents eighteen fun, insightful
essays that examine connections between tackiness and the American
South, ranging from nineteenth-century local color fiction and the
television series Murder, She Wrote to red velvet cake and the
ubiquitous influence of Dolly Parton. Charting the gender, race,
and class constructions at work in regional aesthetics, The Tacky
South explores what shifting notions of tackiness reveal about US
culture as a whole and the role that region plays in addressing
national and global issues of culture and identity.
|
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