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Resisting History
In a major reinterpretation, Resisting History reveals that women, as subjects of writing and as writing subjects themselves, played a far more important role in shaping the landscape of modernism than has been previously acknowledged. Here Barbara Ladd offers powerful new readings of three southern writers who reimagined authorship between World War I and the mid-1950s. Ladd argues that the idea of a "new woman" -- released from some of the traditional constraints of family and community, more mobile, and participating in new contractual forms of relationality -- precipitated a highly productive authorial crisis of gender in William Faulkner. As "new women" themselves, Zora Neale Hurston an...
Barbara Ladd
Reproduction of the original: Barbara Ladd by Charles G.D. Roberts
Barbara Ladd
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The Burning House
Cover -- Half Title -- Title -- Copyright -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. The Briar Patch -- 2. The White Mare -- 3. Inner Conflict -- 4. Invisible Man -- 5. The Color Curtain -- 6. Intruder in the Dust -- 7. Fire Next Time -- 8. Everything That Rises Must Converge -- 9. Who Speaks for the Negro? -- 10. The Demonstrators -- 11. Mockingbirds -- 12. The Cantos -- 13. Regents v. Bakke -- 14. The Last Lynching -- 15. Beyond the Peacock -- 16. Missouri v. Jenkins -- Conclusion -- Notes -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- W
Rereading the Revolution
Approximately fifty historical novels dealing with the American Revolution were published in the United States in the single ten-year period from 1896 to 1906. Benjamin Lawson critically examines the narrative strategies employed in these many novels, the ways in which fiction is made to serve the purpose of vivifying national history. The British conventions of the historical romance in one sense seem to preclude radical declarations of literary independence even in books purportedly about a war against Britain. Working within the formula, these many writers nonetheless created fictional plots which parallel and reflect the enveloping concerns of the War for Independence. Just as the war was sometimes viewed as an Anglo-American family squabble, these metaphorical narratives depict familial and love interests.
Barbara Ladd
Book Excerpt: stick that leaned against the door-post, and hobbled with a heavy briskness down the path to meet the visitor. The yellow pup frisked interestedly at her heels. Barbara had indeed run her prow ashore, but that was for the sake of stability merely. She was in haste, and had no idea of stopping now to indulge her inclination for a gossip with old Debby. She rested in silence, one brown hand on the gunwale of the punt, her full, young, wilful lips very scarlet, her gray-green eyes asparkle with mystery and excitement, as the old woman hobbled down to greet her. "Ain't ye comin' in to set awhile, an' eat a cooky, Miss Barby?" inquired Mrs. Blue, wondering at the child's inscrutable look. The old dame's face was red and harsh and strongly lined. Her chin was square and thrust forward aggressively, with a gray-bristled wart at one side of its obtrusive vigour. A lean and iron-gray wisp of hair, escaped from under her hat, straggled down upon her red neck. But her shrewd, hard, pale-blue, dauntless ol Read More
Witness to Reconstruction
In the wake of the Civil War, Constance Fenimore Woolson became one of the first northern observers to linger in the defeated states from Virginia to Florida. Born in New Hampshire in 1840 and raised in Ohio, she was the grandniece of James Fenimore Cooper and was gaining success as a writer when she departed in 1873 for St. Augustine. During the next six years, she made her way across the South and reported what she saw, first in illustrated travel accounts and then in the poetry, stories, and serialized novels that brought unsettled social relations to the pages of Harper's Monthly, the Atlantic, Scribner's Monthly, Appletons' Journal, and the Galaxy. In the midst of Reconstruction and in ...
The New William Faulkner Studies
William Faulkner remains one of the most important writers of the twentieth century, and Faulkner Studies offers up seemingly endless ways to engage anew questions and problems that continue to occupy literary studies into the twenty-first century, and beyond the compass of Faulkner himself. His corpus has proved particularly accommodating of a range of perspectives and methodologies that include Black studies, visual culture studies, world literatures, modernist studies, print culture studies, gender and sexuality studies, sound studies, the energy humanities, and much else. The fifteen essays collected in The New William Faulkner Studies charts these developments in Faulkner scholarship over the course of this new century and offers prospects for further interrogation of his oeuvre.
Shadow and Shelter
To early European colonists the swamp was a place linked with sin and impurity; to the plantation elite, it was a practical obstacle to agricultural development. For the many excluded from the white southern aristocracy—African Americans, Native Americans, Acadians, and poor, rural whites—the swamp meant something very different, providing shelter and sustenance and offering separation and protection from the dominant plantation culture. Shadow and Shelter: The Swamp in Southern Culture explores the interplay of contradictory but equally prevailing metaphors: first, the swamp as the underside of the myth of pastoral Eden that defined the antebellum South; and second, the swamp as the last pure vestige of undominated southern ecoculture. As the South gives in to strip malls and suburban sprawl, its wooded wetlands have come to embody the last part of the region that will always be beyond cultural domination. Examining the southern swamp from a perspective informed by ecocriticism, literary studies, and ecological history, Shadow and Shelter considers the many representations of the swamp and its evolving role in an increasingly multicultural South.
Race and White Identity in Southern Fiction
White southern writers are frequently associated with the racism of blackface minstrelsy in their representations of African American characters, however, this book makes visible the ways in which southern novelists repeatedly imagine their white characters as in some sense fundamentally black.
